i • 


' 


CATALOGUE  OF 
THE  AVERY  COLLECTION  OF 
ANCIENT  CHINESE  CLOISONNES 


I 


MUSEUM  OF  THE 
BROOKLYN  INSTITUTE  OF 
ARTS  AND  SCIENCES 


CATALOGUE  OF 
THE  AVERY  COLLECTION  OF 
ANCIENT  CHINESE  CLOISONNES 

THE  CATALOGUE  BY 

JOHN  GETZ 

THE  PREFACE  BY 

WM.  H.  GOODYEAR 


BROOKLYN,  NEW  YORK 
1912 


PRINTED  FOR  THE  MUSEUM  OF  THE 
BROOKLYN  INSTITUTE  OF 
ARTS  AND  SCIENCES 


HALF-TONES  BY 
THE  SUFFOLK  ENGRAVING  CO. 


THE  GETTY  CENTER 

I I OO  A DV 


LIST  OF  ILLUSTRATIONS 


No.  Page 

1 . . Large  tripod  censer 1 

Reign  of  Tao-kuang 

2 . . Baluster-shaped  vase 2 

Reign  of  Chia-ch’ing 

5 . . Tall  vase 4 

Reign  of  Ch’ien-lung 

7 . . Tall  vase 5 

Reign  of  K’ang-hsi 

8 . . Sacrificial  tripod  censer 6 

Ming  dynasty 

9 . . Teak-wood  and  cloisonne  screen 7 

Reign  of  Ch’ien-lung 

11-15  . Grand  shrine  set  9 

Reign  of  Ch’ien-lung 

16  . . Imperial  water  hottle 10 

Reign  of  K’ang-hsi 

20  . . Flat  octagonal  bottle 12 

Reign  of  Ch’ien-lung 

22  . . Covered  shrine  urn 13 

Reign  of  Ch’ien-lung 

25  . . Temple  censer 14 

Reign  of  Ch’ien-lung 

27-31  . Shrine  set 16 

Reign  of  Ch’ien-lung 

35  . . Grand  Imperial  vase 18 

Ming  dynasty 

36  . . Large  beaker-shaped  vase 20 

Reign  of  K’ang-hsi 

v] 


LIST  OF  ILLUSTRATIONS 

No.  Page 

38  . . Quadrilateral  trumpet-shaped  vase 21 

Probably  reign  of  Yung-cheng 

40  . . Tall  quadrilateral  vase 22 

Reign  of  K’ang-hsi 

41  . . Tall  quadrilateral  beaker-shaped  vase 23 

Reign  of  Ch’ien-lung 

42  . . Twin  vases  (Champion  vase) 24 

Reign  of  Yung-cheng 

See  also  color  print  on  cover 

43  . . Quadrilateral  trumpet-shaped  vase 25 

Reign  of  Ch’ien-lung 

44  . . Pear-shaped  vase 26 

Ming  dynasty 

45  . . Small  pilgrim  bottle  . 26 

Ming  dynasty 

46  . . Dove-sliaped  altar  wine  vessel  on  wheels 27 

Reign  of  K’ang-hsi 

47  . . Pilgrim  bottle  vase 29 

Probably  reign  of  K’ang-hsi 

48  . . Temple  altar  vase 29 

Ming  dynasty 

49  . . Bottle-shaped  vase 30 

Reign  of  Ch’ien-lung 

50  . . Octagonal  gourd-shaped  bottle 32 

Reign  of  Ch’ien-lung 

52  . . Quadrilateral  vase 32 

Reign  of  Ch’ien-lung 

53  . . Incense  jar 33 

Reign  of  Yung-cheng 

55  . . Large  temple  tripod  censer 34 

Reign  of  K’ang-hsi 

56  . . Hexagonal  lantern 36 

Reign  of  Ch’ien-lung 

59  . . Bottle-shaped  vase 37 

Reign  of  Yung-cheng 

[>i 


LIST  OF  ILLUSTRATIONS 

No.  Page 

62  . . Oviform  vase 38 

Reign  of  K’ang-hsi 

63  . . Drum-shaped  garden  seat 39 

Reign  of  K’ang-hsi 

66  . . Lion-shaped  incense  bifflner 41 

Reign  of  K’ang-hsi 

68  . . Hexagonal  vase 42 

Reign  of  Ch’ien-lung 

69  . . Trumpet-shaped  vase 43 

Reign  of  Ch’ien-lung 

70  . . Duck-shaped  incense  burner 44 

Reign  of  Yung-cheng 

71  . . Sacred  elephant  bearing  a vase 44 

Reign  of  Ch’ien-lung 

73  . . Large  incense  burner 45 

Reign  of  Ch’ien-lung 

74  . . Palace  ice  chest 46 

Reign  of  K’ang-hsi 

78  . . Quadrilateral  incense  burner 47 

Reign  of  Ch’ien-lung 

81  . . Quadrilateral  incense  burner  49 

Reign  of  Ch’ien-lung 

83  . . Pear-shaped  vase 49 

Ming  dynasty 

84  . . Hanging  flower  basket  and  stand 50 

Reign  of  Ch’ien-lung 

85  . . Large  tripod  incense  burner 51 

Reign  of  Ch’ien-lung 

86  . . Large  tripod  incense  burner 52 

Reign  of  Ch’ien-lung 

87  . . Temple  shrine 54 

Reign  of  Ch’ien-lung 

89  . . Large  incense  burner 55 

Reign  of  Ch’ien-lung 

vii] 


LIST  OF  ILLUSTRATIONS 

No.  Pace 

90  . . Large  ewer 56 

Ming  dynasty 

99  . . Buddhistic  shrine  vase 58 

Reign  of  Ch’ien-lung 

103  . . Cabinet  vase 59 

Ming  dynasty 

105  . . Scroll  vase 60 

Reign  of  K’ang-hsi 

106  . . Jade  table-screen  framed  in  cloisonne 61 

Reign  of  K’ang-hsi 

107  . . Large  bowl 60 

Reign  of  K’ang-hsi 

111  . . Large  fruit  dish 62 

Reign  of  Ch’ien-lung 

114  . . Large  bowl 63 

Reign  of  Yung-eheng 

126  . . Large  Buddhist  sceptre  66 

Reign  of  Ch’ien-lung 

129  . . Large  fruit  bowl 67 

Reign  of  Ch’ien-lung 

141  . . Vase  for  incense  utensils 70 

Reign  of  K’ang-hsi 

143  . . Mandarin  hat  stand 72 

Reign  of  Ch’ien-lung 

144  . . Large  screen  panel 71 

Reign  of  Ch’ien-lung 


C viii 


PREFACE 


he  Avery  Collection  of  ancient  Chinese  cloisonnes,  consisting  of 


145  pieces,  was  presented  to  the  Museum  of  the  Brooklyn  Institute 


of  Arts  and  Sciences  by  Mr.  Samuel  P.  Avery,  during  the  years 
1909  and  1910.  It  is  the  most  remarkable  collection,  on  public  exhibi- 
tion, in  the  Western  world,  as  regards  the  quality,  number,  and  average 
size  of  the  exhibits. 

The  description  of  the  individual  pieces  and  their  attributions  as  to 
dynasty,  reign,  and  date,  have  been  prepared,  or  carefully  revised,  by 
the  eminent  expert,  Mr.  John  Getz. 

The  preliminary  history  of  the  art  of  cloisonne  in  China,  which  pres- 
ently follows,  is  from  the  pen  of  the  late  Stephen  W.  Bushell,  as  pre- 
pared by  him  for  the  South  Kensington  Museum  publication  on  Chinese 
Art  (Third  Edition,  1910). 

Dr.  Bushell  was  physician,  for  thirty  years,  to  the  British  Embassy  at 
Peking,  a member  of  the  Council  of  the  Boyal  Asiatic  and  Royal  Numis- 
matic Societies,  and  is  known  by  general  repute  as  having  been  the  most 
distinguished  expert  in  Chinese  art  of  our  day.  Dr.  Bushell’s  account  is 
here  preceded  bj^  the  following  brief  notes  on  enamels  in  general. 

The  basis  of  all  enamels  is  an  easily  fusible  colorless  silicate  or  glass, 
to  which  the  desired  color  and  the  desired  degree  of  opaqueness  are 
imparted  by  means  of  metallic  oxides.  The  molten  mass,  after  cooling, 
is  reduced  to  a fine  powder  and  washed,  and  the  moist  paste  is  then 
applied  to  a metal  surface  according  to  various  methods  to  be  presently 
described;  the  whole  is  then  exposed  in  a furnace  (fired,  as  it  is  called) 
till  the  enamel  is  melted,  when  it  adheres  firmly  to  the  metal. 

In  the  broadest  and  most  universal  sense,  an)r  vitreous  glaze  is  an 
enamel,  whether  it  be  applied  to  pottery,  porcelain,  or  metal,  but  when 


PREFACE 


“enamels”  are  spoken  of,  it  is  those  which  are  applied  to  a metal  surface 
which  are  generally  understood.  This  metal  surface  may  be  gold,  silver, 
or  copper.  Copper  has  been  most  generally  used  in  China. 

The  enamels  which  have  been  produced  in  recent  centuries  in  Europe 


Case  I.  Nos.  1 to  7 


are  generally  the  so-called  “painted  enamels,”  in  which  the  enamel 
colors  are  applied  by  a brush,  with  eff  ects  resembling  those  of  an  ordi- 
nary painting.  This  art  had  its  highest  perfection  at  Limoges,  in  France, 
during  the  16th  and  17th  centuries,  and  was  there  used  especially  for 
platters,  plaques,  caskets,  reliquaries,  and  small  shrines.  The  subjects 
were  very  frequently  taken  from  engravings  or  from  other  pictures. 

After  the  decay  of  the  Limoges  school,  in  the  late  17th  century,  the 

£x 


PREFACE 


use  of  painted  enamel  was  continued  in  France  and  England,  during  the 
18th  century,  with  modified  and  inferior  methods,  and  in  smaller  ob- 
jects, such  as  snuff-boxes,  patch-boxes,  candlesticks,  and  other  small 
articles.  Miniatures  were  also  made  in  painted  enamel,  and  this  18th- 
century  style  of  enamel  has  been  aptly  called  the  “miniature  style.”  Its 
main  claim  to  importance  over  other  minor  pictorial  art  was  that  of 
superior  durability,  and  it  took  no  high  rank  as  decorative  art.  In  fact, 
the  pictorial  character  of  painted  enamels  is  never  favorable  to  decora- 
tive effect.  One  of  the  points  in  favor  of  the  earlier  Limoges  is  that 
monotones  were  largely  used,  especially  greys  (painting  in  grisaille). 

The  early  part  of  the  19th  century  witnessed  a revival,  or  survival,  of 
this  miniature  enamel  style  for  small  objects  in  England,  but,  generally 
speaking,  enamel  painting  has  been  practised  in  recent  European  art 
only  as  an  experiment,  or  in  the  production  of  costly  and  isolated  curi- 
osities. In  China,  the  art  of  painting  in  enamel  has  never  been  highly 
esteemed  or  widely  practised,  and  most  Chinese  productions  of  this 
character,  mainly  of  the  18th  century,  were  originally  inspired  by 
European  examples  and  by  efforts  to  meet  the  taste  and  demands  of  the 
European  market.  The  Avery  Collection  contains  a sufficient  number 
of  these  pieces  to  serve  as  examples  and  contrasts  to  the  more  charac- 
teristic styles  of  China. 

Painted  enamels,  as  being  on  the  whole  the  least  important,  have  been 
mentioned  first,  as  indicating  the  distinction  which,  in  recent  centuries, 
generally  separates  the  enamels  of  Europe  from  those  of  the  far  East. 
Thus,  the  enamels  of  Europe,  of  later  date  than  the  middle  ages,  have 
been  generally  painted,  whereas  in  China  they  have  been  generally 
cloisonne  or  champleve.  That  is  to  say,  they  have  been  made  on  meth- 
ods which  correspond,  in  general,  to  those  of  old  mosaics,  or  of  mediaeval 
stained  glass,  sharing  the  splendid  decorative  qualities  and  effects  which 
result,  in  those  arts,  from  subordinating  the  pictorial  to  the  decorative 
character. 

If  enamels  are  not  to  be  used  as  ordinary  colors  are  in  brush  painting, 
they  must  be  separated  by  divisions,  in  each  of  which  only  a single 
enamel  color  is  used.  The  two  various  methods  by  which  this  separa- 
tion may  be  effected  are  known  by  the  French  words  cloisonne  and 

xiH 


PREFACE 


enamels  the  patterns  and  designs  are  formed  by  very  thin  and  narrow 
ribbons  of  metal,  which  are  soldered  on  to  the  metal  surface,  and  the 
enamel  pastes  are  then  placed  in  the  compartments  which  are  thus 
formed.  It  is  apparent  that  the  champleve  method  cannot  easily  reduce 
the  intermediate  walls  of  the  design  to  the  very  narrow  and  almost  in- 
visible breadth  which  is  made  possible  by  the  previous  preparation  of 

[xii 


champleve.  In  champleve  enamels  the  patterns  and  designs  are  cut  out 
by  graving  tools  and  recessed  in  the  metal  surface.  The  divisions  which 
separate  the  enamels  are  therefore  the  ridges  which  remain  between 
the  different  recessed  surfaces  which  hold  the  enamels.  In  cloisonne 


Case  II.  Nos.  8 to  32 


PREFACE 


a very  thin  metal  ribbon  of  uniform  size,  which  is  soldered  on  a uniform 
surface.  Thus  champleve  enamel  is  generally  confined  in  China  to 
decorative  patterns,  in  which  the  greater  width  of  the  intermediate 
walls  of  the  pattern  is  a desirable  decorative  feature,  on  account  of  its 
lines  of  gilt  metal.  The  irregularities  of  the  metallic  bands  or  borders, 
which  remain  after  the  other  surfaces  have  been  recessed,  are  also  con- 
tributory to  the  good  decorative  effect  which  the  slight  variations  of 
handwork  from  formal  regularity  always  produce. 

Several  examples  may  be  found  in  the  Avery  Collection  in  which 
champleve  and  cloisonne  are  used  on  the  same  piece;  for  instance,  No. 
25,  Case  II.  The  examination  of  this  piece  will  illustrate  the  agreeable 
decorative  quality  incident  on  the  slight  irregularities  of  the  champleve 
bands  of  metal.  It  is  easy  to  understand  that  the  cloisonne  method 
allows  of  much  greater  freedom  in  design  and  of  a decorative  system  in 
which  the  really  rigid  divisions  of  linear  outline  may  be  wholly  lost  sight 
of.  Thus  the  wonderful  patience  and  persistence  of  the  Chinese  artist- 
artisan  find  their  best  illustrations  in  cloisonne,  on  account  of  its  actually 
rigid  technical  methods  and  the  astonishing  freedom  which  was  achieved 
within  the  apparently  narrow  limitations  of  this  art. 

Slight  reflection  will  still  farther  make  apparent  the  continued  pa- 
tience and  dexterity  which  are  demanded  by  both  these  systems  of 
enamelling.  After  the  moist  vitreous  pastes  have  been  inserted  and  then 
fired  in  the  furnace,  a long  and  laborious  process  of  grinding  down,  and 
then  gilding,  the  metal  borders  or  ribbons  is  required,  in  order  that  the 
enamels  and  the  metal  divisions  may  be  brought  to  a uniform  surface. 
The  following  details  as  to  the  technical  manufacture  of  cloisonne  in 
China  have  great  interest  and  are  an  important  supplement  to  the  fore- 
going brief  and  general  description. 

To  prepare  the  vase  a piece  of  copper  is  hammered  out  into  the  de- 
sired shape,  the  surface  being  made  smooth.  Upon  this  copper  base  is 
traced,  with  a brush,  in  India  ink,  the  design  to  be  executed,  which  has 
been  originally  painted  by  an  artist  on  paper  or  silk. 

The  thin  wires  or  ribbons  of  gold,  silver,  or  copper  are  placed  edge- 
wise upon  the  lines  of  the  drawing,  with  great  accuracy,  in  order  to 
make  the  cloisons. 
xiii] 


PREFACE 


The  narrow  metallic  ribbon  is  cut  into  sections  of  various  lengths  and 
curved  into  the  forms  required,  exactly  fitting  the  lines  of  the  drawing. 
In  the  more  carefully  made  pieces  the  ribbons  are  not  only  bent,  but 
beaten  with  a hammer,  so  as  to  obtain  varying  thicknesses  of  lines,  and 
the  ends  of  the  wires  are  filed  so  as  to  ensure  that  they  meet  perfectly. 


Case  III.  Nos.  33  to  13 

The  endless  patience  required,  and  the  great  difficulty  involved,  in 
this  preliminary  part  of  the  enameller’s  art  can  be  imagined  when  we 
learn  that  it  is  not  unusual  to  find  more  than  one  hundred  pieces  of 
ribbon  set  in  intricate  designs  in  a space  of  one  square  inch.  A vegetable 
glue,  made  from  the  root  of  a species  of  orchid,  is  used  to  make  the 
pieces  of  ribbon  adhere  to  the  vase. 

Powdered  enamel,  or  solder-filings,  are  next  sifted  over  the  work, 

Cxiv 


PREFACE 


which  is  then  subjected  to  a gentle  heat,  thus  securing  the  cloisons. 
Enamel  pastes  of  various  colors  are  then,  with  the  aid  of  a bamboo  pen, 
forced  into  the  cloisons  formed  by  the  wires,  thus  carrying  out  the  de- 
signs. Various  successive  firings  are  necessary,  as  some  enamels  do  not 
fuse  as  easily  as  others,  and  because  different  layers  of  enamels  are 
required  to  attain  the  desired  effect.  Finally  the  surface  is  polished 
with  stones  of  different  grades  of  coarseness,  then  with  powdered  char- 
coal, and,  last  of  all,  with  hartshorn  mixed  with  rape-seed  oil. 

Although  the  following  historic  account,  from  Dr.  Bushell’s  pen,  of  the 
introduction  of  enamelling  into  China,  will  show  that  the  art  was  not 
originally  a native  invention,  it  may  still  be  said  that  cloisonne  is  a 
wholly  characteristic  national  Chinese  art,  in  every  sense.  The  designs 
and  color  schemes  are  distinctively  Chinese  and  foreign  influence  was 
only  apparent,  as  regards  historic  pieces,  in  the  painted  or  Canton 
enamels  (also  known  as  Peking  enamels).  Moreover,  the  general  his- 
tory of  the  rise  and  decline  of  the  cloisonne  art  corresponds  to  that  of 
the  Chinese  porcelains,  as  regards  the  essential  features  and  excellen- 
cies of  both  arts. 

In  both  porcelains  and  cloisonnes  we  find  the  same  splendid  sense  for 
color,  and  for  the  possibilities  of  its  decorative  contrasts,  which  makes 
the  Chinese  art  so  superior,  on  the  whole,  to  European  decorative  art  of 
the  corresponding  centuries,  and  especially  when  European  decorative 
art  of  the  present  century,  or  of  the  19th  century,  is  compared  with 
Chinese  decorative  art  of  the  18th,  17th,  and  16th  centuries,  or  those  of 
still  earlier  time. 

Again,  we  find,  both  in  porcelain  and  in  cloisonne,  that  same  general 
point  of  view  which  recognizes  the  Ming  period  as  the  greatest,  and  its 
pieces  as  being  the  rarest  and  the  most  important;  while  the  K’ang-hsi 
era  is  only  a grade  less  important,  when  pieces  of  the  very  highest  qual- 
ity are  compared,  and  often  in  other  cases  quite  equal  to  the  Ming.  In 
cloisonnes,  as  in  porcelains,  the  Ch’ien-lung  era,  which  is  the  last  of  the 
great  historic  periods,  is  distinguished  for  technical  excellence  of  execu- 
tion, but  its  best  pieces  are  those  which  approach  most  nearly  to  the 
color  schemes  and  low-toned  harmonies  of  the  older  dates  (and  this  they 
appear  to  do  more  often  in  cloisonne  than  in  porcelain). 

In  the  last  half  of  the  19th  century,  the  Chinese  do  not  appear  to  have 
xv] 


PREFACE 


produced  much  in  cloisonne  of  importance,  and  the  art,  as  far  as  prac- 
tised, shows  a relative  deterioration  which  was  mainly  due  to  European 
influence.  The  recent  production  in  Japan  has  apparently  increased  in 
amount  but  has  retrograded  in  effects  of  color  harmony.  The  corrupting 


Case  IV.  Nos.  44  to  63 


influences  of  Europe  are  most  especially  apparent  in  the  commercial 
cloisonnes  of  modern  Japan,  whose  older  pieces  are  occasionally  of  some 
importance,  but  never  equal  to  the  best  Chinese. 

The  designations  of  the  Chinese  periods  as  Ming,  K’ang-hsi,  and  Ch’ien- 
lung  are  more  easily  remembered  when  we  relate  them  broadly  to  a 
sequence  of  periods  respectively  of  the  14th,  15th,  and  16th  centuries 
(Ming) ; of  the  late  17th  and  early  18th  centuries  (K’ang-hsi) ; and  the 

Cxvi 


PREFACE 


18th  century  (Ch’ien-lung).  It  should  also  be  considered  that  the  word 
Ming  refers  to  a dynasty,  although  most  of  its  cloisonnes  appear  to  date 
from  a single  reign,  that  of  Ch’ing-t’ai  (1450-1456).  On  the  other  hand, 
K’ang-hsi  (1662-1722)  and  Ch’ien-lung  (1736-1795)  were  individual 
kings  of  the  recently  reigning  Manchu  or  Ch’ing  dynasty,  which  suc- 
ceeded the  Ming  dynasty  in  1644. 

The  reign  of  Yung-cheng  (1723-1735)  was  intermediate  between  that 
of  K’ang-hsi  and  Ch’ien-lung,  but  appears  less  frequently  in  the  desig- 
nation of  periods. 

Although  the  foregoing  remarks  as  to  dates  and  periods  will  appear 
extremely  commonplace  to  experts  in  Chinese  porcelain,  they  may  be  of 
service  to  the  general  public.  Some  of  the  points  developed  in  this 
preface  will  also  be  rehearsed  in  the  historic  account  by  Dr.  Bushell 
which  is  next  quoted.  This  part  of  the  preface  may  be  closed  with  the 
remark  that  enamelled  inlays  were  certainly  employed  in  ancient  Egypt, 
especially  in  gold  jewelry.  In  the  Byzantine,  or  late  Greco-Roman,  pe- 
riod (5th  to  15th  centuries,  inclusive)  the  art  of  enamelling  existed  in  the 
highest  perfection,  hut  its  surviving  remains  are  of  extreme  rarity. 
Among  them  may  be  mentioned  the  famous  Pala  d’Oro,  or  altar  front, 
in  St.  Mark’s  at  Venice,  which  is  of  Byzantine  workmanship.  Most  of 
the  Byzantine  enamels  were  executed  on  plates  of  gold,  and  tins  will 
explain  the  destruction  which  has  befallen  them.  The  manner  in  which 
this  Byzantine  art  was  borrowed  by  China  is  described  more  fully  by 
Dr.  Bushell  in  the  following  extract  from  his  hand-book  on  Chinese  Art, 
which  was  prepared  for  the  South  Kensington  Museum:1 

“The  art  of  enamelling  seems  to  have  been  invented  at  a very  remote 
date  in  Western  Asia,  and  to  have  penetrated  to  Europe,  as  far  east  even 
as  Ireland,  in  the  early  centuries  of  the  Christian  era,  but  there  is  no 
evidence  of  its  having  travelled  eastwards  to  China  till  much  later.  The 
Chinese  themselves  do  not  claim  the  independent  invention  of  the  art, 
which  they  trace  back  to  Constantinople,  while  they  generally  ascribe 
its  introduction  into  their  own  country  to  the  Arabs  as  intermedi- 
aries. . . . 

1 Chinese  Art,  by  Stephen  W.  Bushell.  Two  vols.  London:  Printed  for  his 

Majesty’s  Stationery  Office  by  Eyre  & Spottiswoode,  Ltd.,  1910.  (Series  of  the 
Board  of  Education,  Victoria  and  Albert  Museum.) 

xvii  ] 


PREFACE 


“Byzantium  was,  it  is  well  known,  the  great  seat  of  the  industry  of 
enamelling  in  the  middle  ages,  and  important  relics  of  their  work  in 
champleve,  as  well  as  in  cloisonne  enamels,  are  still  extant.  The  work 
there  is  said  to  date  back  at  least  to  the  time  of  Justinian.  . . . The  art 


Case  V.  Nos.  64  to  82 


was  practised  in  Constantinople  until  the  fourteenth  century,  but  in  the 
meantime  events  occurred  there  which  led  to  the  dispersal  of  the 
enamellers  to  all  parts  of  the  world,  east  as  well  as  west.  It  was  at  this 
time,  doubtless,  that  it  reached  the  northern  borders  of  China,  probably 
through  Armenia  and  Persia.  The  thirteenth  century  was  the  period 
when  the  conquest  of  nearly  the  whole  of  Asia  and  part  of  eastern 
Europe  by  the  Mongols  opened  up  a way  for  the  introduction  of  new 

l xviii 


PREFACE 


industrial  arts,  and  there  is  reason  to  believe  that  the  art  of  enamelling 
was  first  practised  in  China  about  this  time.  . . . 

“The  art  of  enamelling  was  brought  independently  to  the  south  of 
China  by  the  Arabs  a century  or  more  later,  when  we  first  hear  of  the 
Ta  Shih  Yao,  or  Arabian  enamelled  ware,  and  are  told  that  it  resembled 
the  Fo-lang  Ch’ien,  the  ‘Byzantine  incrusted  work.’  This  record  proves 
that  the  cloisonne  enamels  of  Constantinople  were  already  known  in  the 
fourteenth  century  to  the  Chinese,  and  available  for  comparison  with 
the  enamels  brought  to  China  at  the  time  by  the  Arab  ships.  The  Chi- 
nese thus  learned  the  cloisonne  art  from  a succession  of  workmen  trav- 
elling across  the  whole  of  Asia  and  setting  up  workshops  in  the  great 
towns  they  visited,  just  as  did,  under  nearly  the  same  conditions,  the 
small  colonies  of  Syrian  craftsmen  who  overran  France  during  the 
Merovingian  epoch,  and  introduced  there  in  the  same  way  various 
Byzantine  methods  of  work.  The  careful  study  of  the  most  ancient 
Chinese  cloisonnes  reveals  intrinsic  proofs  of  their  western  origin.  . . . 

“The  enamel  work  of  the  Ming  dynasty  (1368-1643),  speaking  gener- 
ally, is  characterized  by  a boldness  of  design  and  breadth  of  treatment 
which  have  never  been  surpassed,  combined  with  a striking  depth  and 
purity  of  colouring.  There  are  two  well  contrasted  shades  of  blue:  a 
dark  blue  of  lapis-lazuli  tone  without  the  dulness  of  washing  blue,  and 
a pale  sky-blue  with  the  slightest  tinge  of  green.  The  red  is  of  dark 
coral  tint  rather  than  brickdust,  the  yellow  full-bodied  and  pure.  Greens 
derived  from  copper  are  sparingly  used,  rouges  d’or  are  entirely  absent 
from  their  scheme  of  decoration.  Black  and  white  give  the  worst  re- 
sults: the  former  fails  in  depth  and  lustre,  the  latter  is  generally  clouded 
and  muddy.  The  general  effect  of  the  decoration  is  wonderfully  suc- 
cessful, but  at  the  same  time  a more  minute  examination  will  reveal 
minor  flaws  due  to  imperfect  technique,  a certain  want  of  polish  in  the 
surface,  and  a tendency  to  become  pitted  with  minute  holes  in  the 
enamels.  The  last  defect,  so  frequent  in  early  enamels,  was  remedied 
later  by  repeated  fusion  in  successive  firings,  at  the  risk  always  of  some 
deterioration  in  the  original  brilliancy  of  the  colouring. 

“Under  the  present  Ch’ing  dynasty  the  reigns  of  K’ang-hsi,  Yung- 
cheng,  and  Ch’ien-lung  are  distinguished  for  the  excellence  of  their 
xix] 


PREFACE 


enamels.  The  works  of  K’ang-hsi  (1662-1722),  while  improving  in  tech- 
nical finish,  retain  something  of  the  boldness  of  design  and  robust  col- 
ouring of  the  Ming  dynasty.  The  stjde  is  simple  and  broad,  the  colouring 
pure  and  rich,  the  execution  strong  and  original.  Fine  specimens  are  to 


Case  VI.  Nos.  83  to  89 

be  seen  in  many  of  the  Buddhist  temples  in  the  neighbourhood  of  Peking, 
which  were  founded  under  the  patronage  of  the  emperor  during  his  long 
reign,  as  it  was  his  usual  practice  to  have  the  sets  of  incense  vessels  re- 
quired for  the  shrines  made  of  cloisonne  enamels  at  the  palace  works 
for  presentation  to  the  temple  at  its  inauguration.  . . . The  enamel 

[xx 


PREFACE 


work  of  Yung-cheng  (1723-1735)  does  not  differ  materially  from  that 
of  his  predecessor.  . . . 

“Cloisonne  enamels  of  the  Ch’ien-lung  period  (1736-1795)  manifest  a 
certain  improvement  in  technical  finish  in  every  detail.  The  models  are 
well  chosen  and  the  scheme  of  decoration  is  generally  worthy  of  the 
form.  There  is  no  pitting  of  the  surface,  the  colours,  if  not  so  vivid  and 
lustrous  as  of  old,  are  harmoniously  combined,  and  the  bronze  acces- 
sories often  mounted  on  the  pieces  are  heavily  and  richly  gilded.  This 
last  point  is  useful  as  a means  of  distinction  of  the  modern  enamels  of 
Peking  workshops,  which  are  not  only  made  more  hurriedly  and  less 
carefully  finished,  but  are  sparingly  gilded  with  the  help  of  an  electric 
battery,  instead  of  being  lavishly  coated  with  concentrated  amalgams 
of  gold  fixed  in  the  fire.  . . . 

“Painted  enamels  on  copper  are  generally  known  to  the  Chinese  as 
Yang  Ts’u,  literally  ‘foreign  porcelain,’  indicating  the  introduction  of 
the  art  from  abroad.  They  are  also  often  known  as  ‘Canton  enamels,’ 
the  city  of  Canton  being  the  great  centre  of  their  manufacture.  Porce- 
lain as  well  as  copper  was,  and  is  still,  decorated  in  the  workshops  of 
Canton,  brought  overland  ‘in  the  white’  from  Ching-te-chen,  to  be 
painted  with  the  same  palette  of  enamel  colours,  but  this,  curiously,  is 
not  called  Yang  Ts’u;  it  is  known  by  the  distinctive  name  of  Yang  Ts’ai, 
literally  ‘foreign  colours,’  the  word  porcelain  being  understood. 

“The  technique  of  painted  Chinese  enamels  on  copper  is  precisely 
similar  to  that  of  Limoges  enamels  in  France,  and  of  Battersea  enamels 
in  England.  Limoges  enamels  were  actually  taken  to  China  by  the  early 
French  missionaries  to  be  copied,  and  the  motives  of  decoration  used  in 
the  Chinese  enamels  often  betray  signs  of  their  influence.  The  epoch 
alluded  to  is  that  of  Louis  XIV,  contemporary  with  the  Emperor  K’ang- 
hsi;  more  especially  from  1685  to  1719,  the  period  of  the  Compagnie  de 
la  Chine  founded  by  Mazarin,  when  table  service  with  the  arms  of 
France,  de  Penthievre,  and  others,  and  a quantity  of  other  objects,  were 
ordered  by  the  French  and  executed  at  Canton.  Many  similar  commis- 
sions were  sent  out,  about  the  same  time,  for  services  of  ‘armorial  china’ 
and  the  like,  from  England,  Holland,  and  other  countries,  which  were 
xxiH 


PREFACE 


executed  with  rare  fidelity  by  the  Cantonese  workmen,  and  brought  to 
Europe  by  the  ships  of  the  Dutch  and  English  East  India  Companies. 
The  objects  were  enamelled  on  porcelain  as  well  as  on  copper,  and  some 
of  the  service  would  occasionally  include  both  excipients  in  the  same 


Case  VII.  Nos.  90  to  145 

set,  an  urn  for  hot  water,  and  a tea-pot  enamelled  on  copper,  for  ex- 
ample, being  accompanied  by  a milk-jug,  sugar-bowl,  and  tea-cups 
enamelled  on  egg-shell  porcelain.  A curious  bowl  is  figured  in  Du 
Sartel’s  La  Porcelaine  de  Chine  (page  115)  as  an  example  of  the  sur- 
passing skill  of  the  Chinese  in  their  imitations  of  Limoges  enamels  at 
this  time.  It  is  a shallow  bowl  with  loop  handles  of  fine  and  light  por- 
celain. formerly  in  the  Marquis  Collection  at  Paris,  which  is  described 

C xxii 


PREFACE 


as  a most  deceptive  imitation,  both  in  shape  and  decoration,  of  the  piece 
of  Limoges  enamel  which  served  as  its  model  in  China.  . . . 

“Passing  on  from  the  earlier  famille  verte  style  to  the  fcimille  rose 
decoration  of  Chinese  ceramic  art,  the  remarkable  similarity  of  the  mo- 
tives of  decoration  and  of  the  enamel  colouring  of  some  of  the  painted 
enamels  on  copper  with  those  of  contemporary  pieces  of  the  kind  fash- 
ioned in  egg-shell  porcelain  is  indeed  sufficient  to  prove  them  produc- 
tions of  the  same  workshops.  Round  dishes  and  plates  occur  in  the  two 
materials  backed  with  the  same  rose-coloured  grounds,  and  decorated 
with  identically  brocaded  patterns  and  diapered  bands,  interrupted  by 
foliated  panels  filled  with  precisely  similar  pictures,  all  executed  in  the 
same  soft-coloured  enamels.  . . . 

“Enamel  painting  on  copper  was  stigmatized  from  the  first  as  a for- 
eign art  by  the  Chinese,  and  it  has  never  taken  firm  root  in  the  country. 
Even  in  Canton  it  has  gradually  died  out,  so  that  nothing  of  any  im- 
portance has  been  produced  since  the  reign  of  Cli’ien-lung,  which  closed 
in  1795.” 

The  seven  cases  containing  the  Avery  Cloisonne  Collection  in  the 
Eastern  Square  Gallery,  first  floor,  of  the  Museum  are  numbered  as  fol- 
lows: No.  1 stands  in  the  centre  of  the  room;  No.  2 is  the  first  case  on  the 
left  of  the  entrance  door  (northeast  corner  of  the  room) ; Nos.  3,  4,  5,  6, 
7 follow,  in  sequent  order,  in  making  the  round  of  the  room  from  left  to 
right.  In  the  cases  with  shelves,  the  numbers  begin  on  the  highest  shelf 
and  follow  in  sequence  from  left  to  right,  then  descending  to  the  next 
lower  shelf,  with  arrangement  in  the  same  order.  Thus  the  adjacent 
numbers  are  always  placed  in  sequence,  and  any  given  number  may 
easily  be  found. 

The  following  list  shows  what  numbers  are  to  be  found  in  each  case: 

Case  I contains  numbers  1-7. 

Case  II  contains  numbers  8-32. 

Case  III  contains  numbers  33 — 43. 

Case  IV  contains  numbers  44-63. 

Case  V contains  numbers  64—82. 

Case  VI  contains  numbers  83-89. 

Case  VII  contains  numbers  90-145. 


xxiii 


No.  1 


No.  2 


C2 


CATALOGUE 


1.  LARGE  TRIPOD  CENSER.  (Hsiang-lu.)  Cloisonne  and  champ- 
leve enamel.  Octagonal  shape;  with  archaic  sceptre-shaped  handles, 
showing  fungi-formed  “ju-i”  head  panels,  on  which  appear  “shou” 
marks  (signifying  longevity),  encircled  by  five  small  bats  or  “wu-fu” 
(the  superlative  of  as  many  blessings) ; executed  alternately  in 
champleve  enamel  and  gilt  bronze.  The  bulbous  body  stands  on  three 
legs,  whose  upper  ends  are  crowned  by  similar  panels,  and  is  decorated 
in  bright  enamels  on  turquoise-blue  ground,  with  conventional  ara- 
besques and  lotuses.  These  are  divided  into  panels  by  deep  lapis-blue 
bordering  in  archaic  angular  design.  The  enamel  cover,  with  circular 
“shou”  emblems  in  gilt  bronze  open-work,  is  surmounted  by  a gilt  bronze 
finiai  with  champleve  enamel  arabesques.  Era  of  Tao-kuang,  1821-1850. 

Height,  36  inches. 

2.  RALUSTER-SHAPED  VASE.  (Ta-p’ing.)  Cloisonne  and  champ- 
leve enamel.  Mandarin  shape,  with  vertical  divisions  displaying  nu- 
merous lapis-blue  dragon  medallions  amid  lotus  flowers  and  scrolling 
leafage  in  green,  red,  and  yellow  enamel  colors,  on  a turquoise-blue 
ground.  Shoulder  with  scolloped  bordering  in  lapis-blue,  which  is  fol- 
lowed by  a green  angular  fretting  at  the  neck.  Gilt  bronze  stand.  Era 
of  Chia-ch’ing,  1796-1820. 

Height,  with  stand,  23  inches. 

3.  TRIPOD  CENSER.1  (Hsiang-lu.)  Of  globular  shape,  with  gilt 
bronze  phoenix  (feng-huang)  bird  handles  and  three  dragon-fish  feet. 
The  body,  with  turquoise-blue  ground,  shows  circular  “ch’ien”  medal- 

1 Where  no  reference  is  made  to  the  character  of  the  enamel,  as  is  the  case  in 
the  majority  of  the  descriptions,  it  is  to  be  understood  that  the  piece  is  cloisonne. 
When  champleve  is  used  this  is  specified,  and  when  both  champleve  and  cloisonne 
are  used,  both  are  specified. 

3n 


ANCIENT  CHINESE  CLOISONNES 


lions  (symbols  of  wealth)  in  light  green,  together  with  blossoms  and 
scrolling  arabesque  motives  in  polychrome  colors,  including  light  rose 
tints.  The  cover,  with  similar  designs,  is  surmounted  by  a finial  with 

open-work  floral  design  in 
gilt  bronze.  Carved  teak 
stand.  Ch’ien-lung  period, 
1736-1795. 

Height,  15%  inches. 


4.  LARGE  BOTTLE. 
(Ta  wen  hu.)  Of  bulbous 
shape  with  small  fruit- 
shaped handles,  or  “ears” 
(Chinese  term).  The  neck 
displays  various  floral  and 
arabesque  borders,  includ- 
ing lotus-pod  design  in  gilt 
bronze,  fish  and  sea-weeds, 
in  bright  enamel  colors  on 
blue  ground.  The  lower 
section  of  the  body  is  cov- 
ered with  large  lotus  leaves 
in  blue  and  green  enamel 
tones,  showing  delicate  wire 
outlining.  Gilt  teak  stand. 
K’ang-hsi  period,  1662-1722. 

Height,  18%  inches. 


No.  5 


5.  TALL  VASE.  (Ma-ti 
p’ing.)  Oviform  body,  with 
trumpet-shaped  neck  and 
spreading  base;  decorated 
with  four  rampant  dragons, 
alternately  in  blue  and  yel- 
low, with  red,  amid  conven- 


[4 


ANCIENT  CHINESE  CLOISONNES 


tional  cloud  and  scroll  forms,  in  varied  enamel  colors  on  light  blue 
ground.  The  bulbous  neck  is  ornamented  with  red  and  yellow  flowers, 
and  green  leafage,  on  a blue  ground,  which  shows  wire  cloison  work  in 
continuous  scrolling  forms.  The  base  is  finished  in  cloisonne  arabesque 
enamel,  with  chased  and  gilt  bands.  The  foot  bears  six  marks  of  the 
K’ang-hsi  period,  but  the  piece  was  probably  made  in  the  era  of  Ch’ien- 
lung,  1736-1795. 

Height,  18  inches. 


No.  8 


6.  CABINET  BOTTLE. 
(Hua  p’ing.)  Bulbous 
form  with  gilt  sceptre- 
shaped handles.  The 
body  is  decorated  with 
peony  flowers  and  or- 
chids, with  leafage,  in 
natural  tones  on  tur- 
quoise-blue ground.  The 
neck  is  finished  with 
“key-fret”  borders,  scroll- 
ing foliage  and  lotus 
flowers,  in  various  enamel 
colors,  matching  the  body. 
Gilt  bronze  repousse 
stand,  with  champleve 
enamel  designs.  Ch’ien- 
lung  period,  1736-1795. 

Height,  with  stand, 
13  inches. 


7.  TALL  VASE.  (Ta-p’ing.)  Oviform,  with  slightly  contracted  neck 
and  base.  The  decoration  displays  archaic  lineaments  of  “t’ao-t’ieh  yen” 
(ogre-masks),  outlined  in  deep  lapis-blue  enamel,  relieved  by  yellow, 
on  turquoise-blue  ground.  Archaic  leaf  forms  encircle  the  neck,  below 
which  is  a band  of  light  green  dragons  on  a deep  blue  ground,  and  a 

[6 


7] 


ANCIENT  CHINESE  CLOISONNES 


second  dragon  border  of  deep  blue  dragons  on  turquoise  ground  finishes 
the  base.  K’ang-hsi  period,  1662-1722. 

Height,  17%  inches. 


8.  SACRIFICIAL  TRIPOD-CENSER.  (Ting-lu.)  Cloisonne  and 
champleve  enamel.  The  shallow  howl-shaped  body,  with  turquoise- 
blue  ground,  is  ornamented  with  lotus  blossoms  and  leafy  scrolls,  to- 
gether with  white-eyed  ogre  (mask-like)  lineaments,  or  “t’ao-t’ieh  yen,” 
which  are  separated  by  vertical  dentated  brass  ridges  or  aretes.  The 
arched  handles  and  dragon-formed  feet  display  champleve  embellish- 
ment in  deep  lapis-blue  and  turquoise-blue  enamels.  Ming  dynasty, 
1368-1643. 

Height,  11  inches. 

9.  TEAK-WOOD  SCREEN  WITH  CLOISONNE  PANEL.  (P’ing 
feng.)  The  cloison  design,  with  diapered  blue  ground,  shows  various 
Mandarin  objects  with  symbolic  significance,  in  bright  colors — notably 
the  vase  bearing  “shou”  characters  and  holding  peony  flowers,  the  jar 
with  emblems  and  brushes,  the  small  vase  and  coral  stem,  and  the  twin 
fish  and  peaches.  These  allegorically  embrace  a chapter  of  happy 
augury,  long  life,  official  honors,  and  happiness.  Ch’ien-lung  period, 
1736-1795. 

Height,  31  inches. 


10.  COVERED  RRAZIER.  (T’ung-chiang.)  Rowl  form;  raised  upon 
small  spreading  base  and  with  pendent  handles.  A delicate  floral  ara- 
besque design,  on  turquoise-blue  ground,  surrounds  a series  of  bats  to- 
gether with  “fu”  characters;  representing  emblematically  the  “wu-fu,” 
or  five  forms  of  happiness.  The  top,  decorated  with  bats,  and  cresting 
in  form  of  white  cranes,  together  with  leafy  scrolls,  is  surmounted  by  a 
supplementary  cover  of  Persian  etched  brass.  Teak  stand.  Era  of  Yung- 


cheng,  1723-1735. 


Height,  9 inches. 


11-15.  GRAND  SHRINE  SET.  (Wu  kung  shih.)  Champleve  enamel 
on  gilt  bronze;  with  carved  and  reticulated  white  jade  panelling.  Era  of 
Ch’ien-lung,  1736-1795.  The  set  comprises: 

C8 


911 


AVERY  COLLECTION  OF 


OBLONG  CENSER.  (Hsiang-lu.)  With  upright  handles,  and 
raised  on  four  feet,  buttressed  on  the  corners  and  sides  with  gilt 
bronze  aretes,  in  the  form  of  vertical  dentated  ribs.  The  carved 
jade  panels  show  archaic  dragon  forms,  amid  reticulated  floral 

scroll  work.  The  oblong 
cover  has  jade  panels  sur- 
mounted by  gilt  bronze 
open-work,  with  finial. 
Carved  teak  stand. 

Height,  18%  inches. 


TWO  SQUARE  CAN- 
DLESTICKS. (Chu-t’ai.) 
Matching  the  censer  and 
supporting  gilt  bronze 
ornaments  of  cylindrical 
shape,  with  cone-shaped  finials,  which  serve  as  covers  for  the  candle 
prickets.  Carved  teak  stands. 

Height,  24%  inches. 


TWO  SQUARE  BEAK- 
ERS. (Hua-ku.)  Match- 
ing the  censer,  and 
supporting  clustered 
branches  of  emblematic 
fungus,  in  gilt  bronze; 
these  bear  nine  semi- 
precious stones  (in  the 
form  of  fruit)  including 
carnelian,  agate,  jade, 
crystal  quartz,  and  lapis- 
lazuli.  Carved  teak 
stands. 

Height,  20%  inches. 


16.  IMPERIAL  WATER  BOTTLE.  (Shui-p’ing.)  Globular  body  with 
tubular  neck  and  bulbous  top;  decorated  with  conventional  lotus  flowers 

Cio 


ANCIENT  CHINESE  CLOISONNES 


and  leafy  scrolls  in  blue,  red,  green,  and  white  enamel,  upon  a ground 
of  Imperial  yellow.  The  remaining  decoration  consists  of  lanceolated 
and  palm-leaf  borderings  in  varied  colors,  including  brilliant  lapis-blue. 
Teak  stand.  K’ang-hsi  period,  1662-1722. 

Height,  12%  inches. 

17.  BUDDHIST  TEMPLE  ORNAMENT  OR  STUPA.  (Fa-lan  t’ai.) 
On  square  pedestal,  with  gilt  bronze  gallery.  The  oviform  body  (with 
gilt  lion-heads,  bordering  and  trappings)  presents  a light  blue  ground, 
filled  with  conventional  floral  and  scroll  designs  in  light  enamel  coloring. 
Above  this  rises  a column  with  contiguous  blue-enamelled  rings  which 
support  a fringed  canopy  (sail)  and  crescent,  with  an  emblem  in  gilt 
bronze  and  red  enamel.  Ch’ien-lung  period,  1736-1795. 

Height,  18%  inches;  base,  7%  inches. 

18.  COVERED  SHRINE  URN.  (Hsiang-yi.)  Of  globular  form,  with 
curved  bronze  handles  and  spreading  base  and  cover.  Embellished  with 
Buddhistic  emblems  (Pa-chi-hsiang)  of  happy  augury,  in  varied  light 
colors,  upon  a ground  of  turquoise-blue,  with  narrow  borders  in  poly- 
chrome enamel  colors.  The  cover  is  tipped  by  a red  and  green  lotus 
pod,  resting  on  gilt  bronze  leafage.  The  bronze  handles  are  inlaid  with 
red  champleve  enamel.  Ch’ien-lung  period,  1736-1795. 

Height,  9%  inches. 

19.  CABINET  BOTTLE.  (Hua  p’ing.)  Compressed  body,  with  slen- 
der neck  and  wide  upper  rim;  the  lower  section  displays  conventional 
lotus  flowers  and  arabesque  scrolls,  in  various  enamel  colors  on  a ground 
of  turquoise-blue.  The  shoulder  displays  a series  of  “t’ao-t’ieh  yen,”  or 
gluttonous  ogre  masks,  outlined  on  the  blue  ground.  The  neck  is  fin- 
ished with  archaic  dragon  forms,  and  bands  in  deep  lapis-blue.  Teak 
stand.  K’ang-hsi  period,  1662-1722. 

Height,  6 inches. 

20.  FLAT  OCTAGONAL  BOTTLE.  (Hu  lu  p’ing.)  With  small 
spreading  base  and  truncated  cubical  top.  The  octagonal  panels  on 
either  side  display  numerous  butterflies  and  blossoms,  in  light  enamel 

11  3 


No.  20 


ANCIENT  CHINESE  CLOISONNES 


colors  with  delicately  wired  outlining,  on  blue  ground,  and  the  oblong 
side  panels  are  decorated  with  floral  and  archaic  motives,  alternately  on 
white  and  blue  enamelled  grounds.  The  neck  is  ornamented  with 
arabesque  scrolls  on  yellow  ground,  to  match  the  base;  the  truncated 
top,  with  diamond-shaped  panels,  displa)rs  four  Buddhist  emblems  of 
happy  augury,  together  with  arabesque  designs  on  yellow  ground. 
Ch’ien-lung  period,  1736-1795. 

Height,  15  inches. 


21.  OBLONG  BOX.  (Fang- 
ho.)  The  panel  of  the  cover 
shows  a vase  with  emblems, 
on  turquoise-blue  ground; 
framed  by  a border  of  sym- 
bolic fruit,  lotus  blossoms, 
and  scrolls,  together  with  ar- 
chaic angular  corner  motives. 
The  sides  display  similar  de- 
signs and  coloring.  Teak 
stand.  Era  of  Yung-cheng, 
1723-1735. 

Height,  IV2  inches. 


22.  COVEBED  SHBINE 
UBN.  (Hsiang-yi.)  Of  globu- 
lar form,  with  curved  handles 
and  spreading  base;  embel- 
lished with  flowering  plants 
and  borders,  in  various  light 
enamel  colors  upon  a ground  of  pure  white.  The  cover  is  topped  by  a 
red  and  green  lotus  pod  resting  on  gilt  bronze  leafage.  The  bronze  han- 
dles are  inlaid  with  red  champleve  enamel.  Ch’ien-lung  period,  1736- 
1795. 

Height,  10  inches. 


23.  INCENSE  UBN,  WITH  COVEB.  (Hsiang-li.)  Of  massive  bowl 
shape,  displaying  conventional  lotus  flowers  and  leafy  scrolls  in  light 
13] 


ANCIENT  CHINESE  CLOISONNES 


enamel  colors  on  a turquoise-blue  ground.  The  base  has  a border  with 
an  archaic  angular  design.  The  top  of  the  cover  has  a similar  border  on 
a ground  of  white  and  is  surmounted  by  a chased  gilt  bronze  lotus  hud 
and  Buddhist  flame  emblem.  Teak  stand.  Era  of  K’ang-hsi,  1662-1722. 

Height,  614  inches. 

24.  GOURD-SHAPED  BOTTLE.  (Hu  lu  p’ing.)  With  bulbous  neck 
and  sceptre-head  handles.  The  cloisonne  embellishment,  with  tur- 
quoise-blue ground,  sustains  large  peony  flowers  and  leafy  scrolls,  in 
bright  colors.  The  decoration  is  completed  at  the  base  by  a scolloped 
border,  which  reveals  “shou”  characters  of  longevity,  together  with  bat 
emblems  of  happiness.  Attributable  to  the  late  Ming  or  early  K’ang-hsi 
period,  seventeenth  century. 

Height,  1314  inches. 

25.  TEMPLE  CENSER.  (Fang-hsiang-yi.)  Chinese  cloisonne  and 
champleve  enamel.  Oblong  shape,  with  curved  enamelled  handles  and 
four  high  feet.  Each  side  has  a panel  with  archaic  dragon  forms,  in 
India  red  and  lapis-blue,  on  pale  turquoise  ground;  enclosed  by  a “key- 
fret”  (lei-wen)  enamelled  border.  The  open-work  cover  displays  archaic 
angular  motives,  in  red  and  blue  champleve  enamelling,  and  is  sur- 
mounted by  a gilt  bronze  “Fu-lion,”  or  “Shih.”  Ch’ien-lung  period, 
1736-1795. 

Height,  14  inches. 

26.  LARGE  SCREEN  PANEL.  (P’ing  feng.)  With  deep  turquoise- 
blue  ground;  in  the  centre  is  an  ornament  in  emblematic  bat  and  tassel 
design.  The  remaining  surface  is  filled  with  archaic  angular  dragon 
forms  and  dark  blue  blossoms  and  leafy  scrolls  in  various  light  colors; 
framed  by  a bordering  of  archaic  design,  in  brilliant  lapis-blue  and 
green  enamel  colors.  Ch’ien-lung  period,  1736-1795. 

Size,  16  x 30  inches. 

27-31.  SHRINE  SET.  (Wu  kung  shih.)  Gilt  bronze  and  cloisonne 
enamel.  Era  of  Ch’ien-lung,  1736-1795.  Comprising: 

15] 


ANCIENT  CHINESE  CLOISONNES 


CENSER-TRIPOD.  (Hsiang-lu.)  With  gilt  bronze  mounting,  rim 
handles  and  original  cover.  The  cloisonne  motives  include  a bor- 
dering of  archaic,  mask-like  lineaments  known  as  “t’ao-t’ieh  yen,” 
or  gluttonous  ogres,  alternating  with  eight  gilt  bronze  bosses  or 
rosettes.  These  are  followed  below  by  a border  of  green  palm  leaves 
with  archaic  ornaments,  on  a blue  diapered  ground  showing  red 
flowering.  The  three  feet  display  similar  latticed  diaper  and  archaic 
forms.  The  cover  is  of  gilt  bronze  open-work  surrounding  cloi- 
sonne panels  and  is  topped  by  an  open-work  gilt  bronze  finial  in 
form  of  a coiled  dragon,  amid  cloud  forms.  Carved  teak  stand. 

Height,  16  inches 


PAIR  OF  TALL  REARERS.  (Hua-ku.)  With  small  ovoid  bodies, 
slender  trumpet-shaped  necks,  and  spreading  bases.  Decorated  on 
the  neck  and  base  with  long  green  palm-leaf  bordering  which  en- 
closes archaic  ornaments  in  lapis-blue,  on  a ground  of  turquoise. 
The  ovoid  centre  section  is  divided  into  four  vertical  compartments, 
each  showing  lotus  blossoms  in  India  red,  yellow,  and  white,  sur- 
rounded by  arabesque  scrolls.  The  upper  and  lower  rims  are  fin- 
ished with  engraved  fret  bands  (lei-wen).  Carved  teak  stands. 

Height,  17%  inches. 


PAIR  OF  PRICKET  CANDLESTICKS.  (Chu-t’ai.)  With  ara- 
besque scrolls  and  conventional  lotus  blossoms  matching  the  beakers. 

Height,  15%  inches. 


32.  TALL  CHINESE  JARDINIERE.  (Hua-p’en.)  Painted  Peking 
enamel  on  copper.  Of  hexagonal  shape,  on  a low  base.  The  delicate 
enamel  painting  shows  floral  medallions  with  stellated  bordering,  and 
the  remaining  field  is  filled  with  green  scrolling  vines,  partly  inlaid  with 
gold  on  brilliant  lapis-blue  ground.  Carved  teak-wood  cover  with  lapis- 
lazuli  knob.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  11%  inches. 

17] 


No.  35 


ANCIENT  CHINESE  CLOISONNES 


33.  TALL  QUADRILATERAL  VASE.  (Fang  p’ing.)  With  bold  flar- 

ing mouth  and  slightly  spreading  base,  which  have  vertical  dentilated 
ridges  in  gilt  bronze.  The  decoration,  in  various  enamel  colors  on  a 
turquoise  ground,  consists  of  archaic  scrolls,  ogre  heads,  palmettes  and 
floriated  patterns.  Mark:  Ching-t’ai  nien-chih  (1450-1456).  Ming  dy- 
nasty. Carved  teak  stand.  Height,  24%  inches. 

34.  CLOISONNE  SCEPTRE.  (Ju-i.)  A conventional  form  of  cere- 

monial wand.  Its  head-piece  is  derived  from  the  sacred  mushroom. 
Mounted  with  three  white  jade  oval  panels,  carved  with  reliefs  of  a man 
in  a boat.  The  cloison  design  is  enamelled  with  scrolls  and  floral  orna- 
ments in  dark  blue,  green,  red,  and  white,  on  turquoise  ground.  Ch’ien- 
lung  period,  1736-1795.  Length,  19%  inches. 

35.  GRAND  IMPERIAL  VASE.  (Ta  shu  fu  p’ing.)  Beaker-shaped;  in 
five  sections,  with  archaic  gilt  bronze  dragon  and  phoenix  handles,  richly 
studded  with  semi-precious  stones.  Trumpet-shaped  neck,  with  tur- 
quoise-blue enamel  ground,  sustaining  chrysanthemum  flowers  and 
varied  border  motives  in  typical  Ming  colors;  the  bulbous  body  below 
presents  a similar  turquoise-blue  ground,  with  conventional  lotus  flow- 
ers and  scrolling  vines,  interspersed  with  the  familiar  eight  Buddhist 
emblems  (pa  chi-hsiang)  of  happy  omen.  The  shoulder,  finished  by  a 
deep  blue  lanceolated  bordering,  supports  three  projecting  gilt  bronze 
phoenix  birds,  with  studding  of  semi-precious  stones,  matching  the  two 
dragon  handles  at  the  neck.  The  vase,  raised  upon  three  gilt  bronze 
winged  lions,  rests  upon  a cloisonne  stand,  which  bears  a circular  “shou” 
character  in  dark  blue,  surrounded  by  conventional  lotus  flowers  and 
leafy  scrolls  in  characteristic  colors  of  its  period.  A homogeneous  en- 
semble is  presented,  with  great  decorative  force.  Special  mark  (sur- 
rounded by  dragons),  reading:  “Ta  Ming  Ching-fai  nien-chih,”  made  in 
the  reign  of  Emperor  Ch’ing-tai  (1450-1456)  of  the  great  Ming  dynasty. 
From  the  palace  of  the  Empress  at  Peking. 

Total  height,  41  % inches;  diameter,  22  inches. 

36.  LARGE  BEAKER-SHAPED  VASE.  (Hua-ku.)  With  bold  flaring 
mouth  and  vertical  dentilated  gilt  bronze  ridges  which  project  at  the 
19] 


ANCIENT  CHINESE  CLOISONNES 


mouth  and  base.  Decorated  with  floriated  ornament,  archaic  scrolls, 
and  palmettes  copied  from  archaic  bronzes,  which  are  executed  in  colors 
characteristic  of  the  Ming  djmasty.  The  piece  should  be  attributed, 

however,  to  the  K’ang-hsi 
period,  1662-1722.  Carved 
teak  stand. 

Height,  21%  inches. 


No.  36 


38.  QUADRILATERAL 
TRUMPET-SHAPED  VASE. 


37.  QUADRILATERAL 
TRUMPET-SHAPED  VASE. 
(Tang-ku-p’ing.)  With  ver- 
tical dentilated  corners  of 
gilt  bronze.  The  decoration 
is  similar  to  that  of  ancient 
bronze  vessels;  t’ao-t’ieh 
(ogre)  eyes,  and  cloud 
forms.  The  neck  and  foot 
borders  are  frets  and  palm 
leaves  in  various  enamels 
of  bright  tones  on  a tur- 
quoise-blue ground.  Ming 
dynasty.  Mark:  Ching-t’ai 
nien-chih  (1450-1456).  Teak 
stand. 

Height,  13  V*  inches. 


(Ta  fang  p’ing.)  Patterned  on  an  ancient  bronze  design,  and  buttressed 
with  eight  gilt  bronze  “fei-chi,”  or  vertical  dentilated  ribs.  The  decoration 
is  hieratic;  the  prevailing  colors  are  deep  cobalt-blue,  deep  coral-red, 
green,  pink,  yellow,  and  white,  displayed  upon  a background  of  tur- 
quoise tint.  Carved  stand.  Ming  dynasty  type,  but  attributable  to  the 
era  of  Yung-cheng,  1723-1735. 


Height,  24%  inches. 


[20 


ANCIENT  CHINESE  CLOISONNES 


39.  FOOT-WARMER.  (K’ao-puo-je.)  Of  flat  oblong  shape.  The 
top  is  enamelled  with  rocks  and  flowering  shrubs,  in  brilliant  colors,  on 

a bright  turquoise-blue  ground, 
relieved  by  a wired  swastika  pat- 
tern fretting.  On  the  sides  is  a bor- 
der of  conventional  lotus  flowers 
and  scrolls.  Ch’ien-lung  period, 
1736-1795. 

10  x 6 14  inches,  2 inches  high. 


41.  TALL  QUADRILATERAL 
REAKER-SHAPED  VASE.  (Ta 
fang  p’ing.)  Patterned  after  an 
ancient  bronze  vase;  with  vertical 
dentilated  ridges  on  the  edges  in 
gilt  bronze;  enamelled  with  hieratic  designs  in  bright  colors  on  a tur- 
quoise-blue ground.  Ch’ien-lung  period,  1736-1795.  Height,  30  inches. 


40.  TALL  QUADRILATERAL 
VASE.  (Fang  p’ing.)  With  trum- 
pet-shaped neck.  Each  oblong  side 
is  outlined  in  gilt  bronze,  and  deco- 
rated with  household  utensils  and 
objects  of  art,  in  low  tones  of  red, 
blue,  yellow,  and  brown,  on  a tur- 
quoise-blue ground.  Cloison  wir- 
ing to  resemble  porcelain  crackle. 
The  mark  “Ching-t’ai  nien-chih” 
(made  in  the  reign  of  Ching  T’ai, 
1450-1456)  is  probably  apocryphal, 
the  piece  being  either  of  the  later 
Ming  dynasty  (1368-1643)  or  of 
the  early  K’ang-hsi  period  (1662- 
1722).  Carved  teak  stand. 

Height,  21%  inches. 


C22 


23] 


No.  41 


ANCIENT  CHINESE  CLOISONNES 


42.  TWIN  VASES.  (Arrow  receptacle  stand — Chien  tung,  called  also 
Ying-hsiung.)  Two  tall  hexagonal  vases,  standing  side  by  side,  are 
joined  by  two  chased  gilt  bronze  ornaments,  one  in  the  shape  of  a lion, 
with  a grotesque  eagle  perched  upon  its  head;  the  other,  which  is  found 
on  the  reverse  side  (see  color  print  on  the  cover),  is  in  the  shape  of  a 
fire  dragon;  emblems  of  the  powers  and  strength  of  the  sky,  the  earth, 
and  the  air.  The  vases  are  enamelled  in  green,  and  decorated  with 
cloisonne  flowers  and  leaves  and  a lattice  pattern  executed  in  low  tones 
of  enamel.  This  rare  specimen  follows  the  model  of  the  earliest  bronze 
arrow  stands  which  were  presented  as  re- 
wards to  champions  or  warriors  of  distinc- 
tion. Carved  stand.  Era  of  Yung-cheng, 

1723-1735.  „ . , . , 

Height,  25%  inches. 


43.  VASE.  (Hua-ku-p’ing.)  Quadri- 
lateral trumpet  shape,  with  vertical  den- 
tilated  gilt  bronze  ridges  at  the  angles.  The 
decoration  is  hieratic,  with  floral  scrolls 
in  the  midst  of  which  are  t’ao-t’ieh  (ogre) 
eyes  in  dark  blue,  pale  green,  white,  and 
red  enamels  on  a turquoise-blue  ground. 
The  rim  and  base  are  incised  with  bands  of 
fret.  Teak  stand.  Ch’ien-lung  period, 
1736-1795. 

Height,  14  inches. 


Xo.  43 


44.  PEAR-SHAPED  VASE.  (Hua-p’ing.)  With  spreading  mouth 

and  base.  The  body  is  divided  by  floriated  bands  into  five  horizontal 
sections,  which  are  filled  with  lotus  designs  and  leaf  scrolls  in  red,  green, 
white,  brown,  and  yellow  enamels  on  a turquoise  ground.  Close  of  the 
Ming  dynasty,  1368  -1643.  Height,  14  inches. 

45.  SMALL  PILGRIM  BOTTLE.  (Pao-yueh-p’ing.)  Decorated  with 
lotus  designs  in  dark  blue  and  red  enamels  on  turquoise-blue  ground. 
25  ] 


C26 


No.  45 


J 


ANCIENT  CHINESE  CLOISONNES 


Hangs  on  an  elaborately  carved  stand  by  a chain  which  is  attached  to 
an  emblematic  metal  butterfly,  which  is  inlaid  with  semi-precious  stones. 
Ming  dynasty,  1368-1643. 

Height,  5%  inches. 

46.  DOVE-SHAPED  ALTAR  WINE  VESSEL  ON  WHEELS.  (Chiu 
cli’e  tsun.)  Patterned  after  the  bronze  vessels,  called  “chiu  ch’e  tsun,”  of 
the  Han  dynasty  (b.c.  202-a.d.  220),  and  intended  to  be  passed  around 
during  the  ritual.  The  bird  has  its  tail  curved  downward,  and  on  its 
back  is  a trumpet-mouthed  vase.  Besides  the  conventional  suggestions 
of  feathers,  and  of  the  wings  which  are  ornamented  with  frets,  the 
enamel  decoration  consists  of  archaic  scrolls  and  various  ornaments 
copied  from  ancient  bronzes,  such  as  monster-heads,  which  are  dis- 
played on  the  breast  of  the  dove  as  well  as  on  the  vase.  Close  of  the 
K’ang-hsi  period,  1662-1722. 

Height,  22  inches. 

47.  PILGRIM  BOTTLE  VASE.  (Pao-yueh-p’ing.)  Decoration  of 
peaches  and  pomegranates  in  red,  green,  yellow,  and  dark  blue  enamels, 
on  a turquoise-blue  ground.  The  mark  incised  horizontally  on  the 
under  side  of  the  lip,  “Ching-t’ai  nien-chih”  (made  in  the  reign  of  Ching- 
t’ai,  1450-1456),  is  probably  apocryphal,  and,  in  that  case,  the  piece  was 
made  in  the  K’ang-hsi  period,  1662-1722. 

Height,  10%  inches. 

48.  TEMPLE  ALTAR  VASE.  (Kung  p’ing.)  Pear-shaped,  with 
spreading  mouth.  Rudimentary  monster-head  handles  with  loose  rings. 
Cover  with  three  small  gilt  upright  rings.  The  vase  is  divided  by  hori- 
zontal gilt  bands  into  six  sections,  each  of  which  is  filled  with  a decora- 
tion of  ogre  heads,  floral  motives,  cloud  forms  and  symbols,  in  red,  blue, 
and  yellow  (green  and  white  being  sparsely  used)  on  turquoise-blue 
ground.  Ming  dynasty,  1368-1643. 

Height,  15%  inches. 

49.  BOTTLE-SHAPED  VASE.  (Shui-p’ing.)  With  two  dragon-head 
handles  on  the  neck.  Enamelled  on  bronze  with  turquoise-blue  and 

C28 


No.  49 


ANCIENT  CHINESE  CLOISONNES 


decorated  with  symbolical  bats  amid  a profusion  of  cloud  forms,  bands, 
and  borders  of  archaic  scrolls  and  symbols,  and  other  intricate  designs, 
in  various  colors  of  low  tone.  Ch'ien-lung  period,  1736-1795. 

Height,  15%  inches. 

50.  OCTAGONAL  GOURD-SHAPED  BOTTLE.  (Hu-lu-p’ing.)  Dark 
blue  enamel  ground;  delicately  wired  designs  of  floral  scrolls  and  fret 
patterns.  Ch’ien-lung  period,  1736-1795. 

Height,  9 Vi  inches. 

51.  FLOWER  VASE.  (Hua-p’ing.)  Slender  baluster  shape,  with 
decoration  representing  red  and  blue  vases,  alternating  with  flowering 
plants  and  butterflies.  Yung-cheng  period,  1723-1735. 

Height,  914  inches. 

52.  QUADRILATERAL  VASE.  (Fang  p’ing.)  With  open-work  re- 
pousse gilt  cover.  Decoration  of  pomegranates,  Buddha’s-hand  fruit  and 
peaches,  symbolical  of  the  “three  abundances,”  in  various  enamels  on  a 
pale  turquoise-blue  ground.  On  each  side  is  a repousse  gilt  panel  show- 
ing the  Pa-chi-hsiang,  or  eight  Buddhist  emblems  of  happy  augury, 
surrounded  by  clouds.  Ch’ien-lung  period,  1736-1795. 

Height,  9 Vi  inches. 

53.  INCENSE  JAR.  (Hsiang  kang.)  Short  neck,  with  two  gilt 
dragon  scroll  handles  with  loose  rings,  and  supported  by  figures  of  a 
gilt  goat  and  two  gilt  rams.  The  type  of  this  specimen  recalls  Ming 
porcelain  vases,  and  it  is  from  them  that  the  gilt  tassels  hanging  from 
the  shoulder  band  are  copied  The  decoration  consists  of  water  plants, 
with  herons  and  other  water  fowl,  in  enamels  of  various  colors  upon  a 
black  ground,  which  is  covered  with  a fret  design  in  fine  wires.  Elabor- 
ately carved  teak  stand.  Yung-cheng  period,  1723-1735. 

Height,  14  inches. 

54.  TRIPOD  INCENSE  BURNER.  (Hsiang-lu.)  Globular  shape; 
lion-head  handles  with  loose  rings;  tall  monster-head  supports  enam- 

313 


No.  55 


died  on  bronze.  The  decoration  consists  of  lotus  flowers,  bold  leaf 
scrolls  and  a border  of  sceptre  heads  in  low  tones  of  lapis-blue,  India 
red,  and  other  enamels,  on  a pale  blue  ground.  Era  of  Yung-cheng, 


1723-1735. 


Height,  1414  inches. 


55.  LARGE  TEMPLE  TRIPOD  CENSER.  (Kung-hsiang-lu.)  Of 
cloisonne  enamel  and  gilt  copper.  The  body  is  divided  into  vertical 
panels,  the  lines  of  which  are  carried  out  into  a spreading  rim  with 
scolloped  edge.  The  metal  cover  is  of  floriated  design  in  elaborate  open- 
work, surmounted  by  a lotus  ornament  and  Buddhistic  symbols.  Deco- 

[34 


ANCIENT  CHINESE  CLOISONNES 


rated  with  emblems,  symbolical  bats,  and  other  designs,  in  enamels  of 
low  tones  on  a turquoise-blue  ground.  Carved  stand.  K’ang-hsi  period, 


1662-1722. 


Height,  20%  inches.  Diameter,  22%  inches. 


56.  CHAMPLEVE  ENAMELLED  LANTERN.  (Liu-teng.)  Hexag- 
onal shape,  of  open-work  design  in  gilt  bronze,  with  cylindrical  base  and 
neck.  On  the  four  sides  are  inserted  panels  of  intaglio  glass,  with  de- 
signs of  quails  and  millet  in  lacquers  and  gilding.  The  corners  are 
panelled  with  decorated  opaque  glass.  The  prevailing  enamels  are 
green  and  turquoise-blue.  Ch’ien-lung  period,  1736-1795. 

Height,  12  inches. 

57.  BALUSTER-SHAPED  JAR.  (Hsiao  kuan.)  With  bell-shaped 
cover.  The  form,  and  decoration  of  gilt  festoons,  hung  with  pendeloques 
from  the  slightly  raised  sceptre-head  border,  are  copied  from  vases  of 
the  early  Ming  period.  The  enamel  decoration  consists  of  “shou”  char- 
acters, diapers,  symbols,  and  sceptre-head  scrolls  and  gadroons,  exe- 
cuted in  various  colors,  on  a turquoise-blue  ground.  Carved  stand. 
Yung-cheng  period,  1723-1735. 

Height,  15  inches. 


58.  TALL  BOTTLE-SHAPED  VASE.  (Fa-lan  p’ing.)  Bulbous  pear- 
shaped  body,  with  tubular  neck.  Enamelled  ground  of  pale  turquoise- 
blue,  agreeably  sustaining  many  kinds  of  flowers  in  detached  sprays,  and 
light  coloring,  with  foliage,  the  interspaces  being  scattered  with  small 
cubes  of  gold.  The  base  is  surrounded  by  an  ornate  gadroon  border. 


Era  of  Ch’ien-lung,  1736-1795. 


Height,  19%  inches. 


59.  BOTTLE-SHAPED  VASE.  (Hua-p’ing.)  With  slender  spread- 
ing neck,  on  which  are  two  gilt  dragon  handles.  On  a turquoise-blue 
enamel  ground  are  four  medallions  containing  flowers  and  palaces  and 
garden  scenes  in  low  tones.  One  of  the  panels  has  a European  landscape 
scene.  The  ground  of  the  vase  is  covered  with  lotus  scrolls,  palmettes, 
and  archaic  designs,  in  enamels  of  various  colors.  Yung-cheng  period, 
1723-1735. 

35 : 


Height,  16  inches. 


No.  5G 


C 36 


No.  59 


ANCIENT  CHINESE  CLOISONNES 


60.  CHAMPLEVE  BIBERON-SHAPED  VASE.  (Mei-p’ing.)  Gilt 
repousse  and  enamelled  in  varied  colors.  The  embellishment  consists 

of  “shou”  characters  of 
longevity  and  “wan-sui” 
(swastika)  emblems  of 
myriad  years  alternately 
represented,  together  with 
bats,  lotus  flowers  and  bor- 
ders of  leaf  patterns,  scep- 
tre heads,  and  key  frets. 
Ch’ien-lung  period,  1736- 
1795. 

Height,  10  inches. 


61.  TABLE  SCREEN. 
(Ch’a  p’ing.)  Panel  of  pale 
green  jade,  mounted  in  a 
cloisonne  frame.  On  the 
reverse  side  is  a decoration 
of  chrysanthemum  flowers 
and  a sumac-like  bush, 
carved  in  low  relief.  On 
the  obverse  side  is  a poem 
in  antique  script,  engraved 
and  filled  in  with  gold.  The 
translation  of  the  poem  is 
as  follows:  “Dew  wets  a 
fairy’s  clothes  and  makes  them  heavy.  Wind  blows  the  fragrance  of 
golden  grains.  The  sign  of  the  moon  shows  an  early  autumn.  At  the 
same  time,  we  see  five  fragrant  branches  of  white  olive  tree.”  At  the  end 
of  the  poem  is  a seal,  with  four  characters.  Ch’ien-lung  period,  1736- 
1795.  Height,  10%  inches;  width,  5 inches. 


62.  OVIFORM  VASE.  (Hua-p’ing.)  With  broad  tubular  neck;  gilt 
bronze  ogre  mask  handles  with  loose  rings.  All-over  decoration  of  ar- 

[38 


No.  63 


39] 


ANCIENT  CHINESE  CLOISONNES 


chaic  dragon  scroll  and  key-fret  (lei-wen)  bands,  with  ogre  eyes  in  lapis- 
blue  on  a turquoise-blue  ground.  Carved  stand.  K’ang-hsi  period, 
1662-1722.  Height,  17  inches. 

63.  GARDEN  SEAT.  (Liang-tun.)  Temple  drum  shape.  Lion-head 
handles  with  loose  rings;  rows  of  gilt  bosses  near  the  base  and  the  top. 
Decoration  of  flying  phoenixes  (feng  huang)  and  the  flowers  of  the  four 
seasons,  in  enamels  of  harmonious  colors  on  a turquoise-blue  ground. 
The  top  panel  is  decorated  with  lions  sporting  with  the  brocaded  ball, 
and  Buddhistic  symbols,  in  low  tones.  K’ang-hsi  period,  1662-1722. 

Height,  15%  inches. 

64.  LARGE  VASE.  (Ta  hua  p’ing.)  Globular  body,  with  incurved 
neck  and  spreading  base.  Decorated  with  archaic  dragon  scroll  panels 
on  a ground  covered  with  diaper,  ogre-head,  and  sceptre-head  borders; 
palmettes  and  bats  encircling  the  neck.  The  prevailing  enamels  are 
green,  red,  and  blue.  Carved  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  15  inches. 

65.  BOX  IN  SHAPE  OF  A PEONY  FLOWER.  (Kua  wang  ho.)  Sup- 

ported by  entwined  tendrils  and  projecting  leaves.  The  petals  are 
enamelled  in  dark  blue,  with  dull  red  border  and  green  turned-over 
edges.  Ch’ien-lung  period,  1736-1795.  Height,  4%  inches. 

66.  INCENSE  BURNER.  In  form  of  a monster  lion  (tai  chih)  in  gilt 

bronze  and  cloisonne  enamel;  the  prevailing  color  is  dark  green.  The 
eyebrows,  ears,  feet,  broad  tail,  and  the  fire  emblems,  which  envelop  the 
body,  are  finished  in  gilding.  Carved  teak  stand.  K’ang-hsi  period, 
1662-1722.  Height,  17%  inches. 

67.  TRIPOD  INCENSE  BURNER.  (Hsiang-lu.)  With  loop  handles; 
enamelled  with  lotus  designs  and  scrolls  in  red,  blue,  and  yellow  on  tur- 
quoise-blue ground.  Carved  teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  2%  inches. 


[40 


No.  66 


AVERY  COLLECTION  OF 


No.  68 


68.  HEXAGONAL  VASE.  (Hua  p’ing.)  With  spreading  neck  and 
base.  Each  side  has  a panel  decoration  of  conventional  lotus  flowers 
and  leaf  scrolls,  within  borders  of  archaic  dragon  design.  Around  the 
shoulder  is  a band  of  sceptre-head  scrolls;  all  in  typical  enamels  of  the 
period.  Ch’ien-lung  period,  1736-1795. 

Height,  13%  inches. 

[42 


ANCIENT  CHINESE  CLOISONNES 


69.  TRUMPET-SHAPED  VASE.  (Hua-ku-p’ing.)  With  gilt  bronze 
vertical,  dentilated  ribs.  Lotus  scrolls,  archaic  frets,  palmettes,  and 
gadroons,  in  brilliant  enamels  on  a turquoise-blue  ground.  Ch’ien-lung 
period,  1736-1795. 

Height,  15%  inches. 

70.  DUCK-SHAPED  INCENSE  BURNER. 

(Fu-tsun-lu.)  With  removable  cover  on  the 
back  of  the  bird;  lotus  flower  and  leaves  in  its 
bill.  The  prevailing  enamels  are  green,  brown, 
blue,  and  white.  Mounted  on  a repousse  gilt 
base  of  wave  design,  with  fabulous  monsters 
and  dragons  in  relief.  Yung-cheng  period,  1723- 
1735,  or  early  Ch’ien-lung  period,  1736-1795. 

Height,  10  inches. 

71.  SACRED  ELEPHANT  BEARING  A 
VASE.  (Hsiang-t’o-pas-p’ing.)  Buddhistic  altar- 
piece.  The  body  of  the  elephant  (hsiang-tsun) 
is  white;  the  saddle  cloth  and  harness  are  inlaid 
with  enamels  and  partly  gilt  to  simulate  jewels 
and  gold  tassels.  Two  vases  are  carried  on  the 
saddle,  one  above  the  other,  the  upper  one  being 
double-gourd  shape;  they  are  decorated  with 
circular  script  characters  and  lotuses,  and  have 
a pierced  crown  in  the  shape  of  bats  whose 
wings  intersect.  Carved  teak  stand.  Ch’ien- 
lung  period,  1736-1795. 

Height,  12  inches. 


72.  LANTERN.  (Chi  t’ing-i  tui.)  Pricket  candlestick  within  a pen- 
tagonal body,  which  has  open  sides  and  a calyx-shaped  top.  High  bal- 
uster stem.  Decoration  of  floral  motives  and  rectangular  scrolls,  in 
enamels  of  various  colors  on  turquoise-blue  ground.  Ch’ien-lung  pe- 
riod, 1736-1795.  Height,  14 % inches. 

43  n 


No.  70 


ANCIENT  CHINESE  CLOISONNES 


73.  LARGE  INCENSE  BURNER.  (Ta  hsiang-lu.)  The  body  is  of 
quadrilateral  oviform  shape,  with  sceptre-shaped  handles  and  gilt 
bronze  monster  feet.  Deco- 
ration of  lotus  flowers,  leaf 
scrolls,  and  ogre-head  bor- 
ders, in  brilliant  enamels 
on  a turquoise-blue  ground. 

The  cover  is  surmounted 
by  an  open-work  gilt  fin- 
ial.  Carved  teak  stand. 

Ch’ien-lung  period,  1736- 
1795. 

Height,  17  inches. 


74.  PALACE  ICE 
CHEST.  (P’ing  hsiang.) 

Fashioned  to  hold  block 
ice  to  keep  the  air  cool  in 
the  summer  season  (see 
Bushell’s  “Chinese  Art,” 

Vol.  II,  page  80).  Oblong 
shape  with  four  feet. 

Bronze  open-work  top  and  No.  73 

cover;  the  cover  in  designs 

of  clouds  and  dragons  pursuing  the  “effulgent  orb.”  The  wide  projecting 
flanges  on  the  sides  are  enamelled  with  Buddhistic  symbols  of  happy 
augury,  scrolls,  and  floral  designs  of  extremely  varied  detail,  in  low 
tones  on  turquoise  ground.  Below  these  flanges  are  copper  sides  with 
repousse  scroll  designs  relieved  bjr  gilt  peonies.  K’ang-hsi  period,  1662- 


1722. 


30  x 21  inches,  13  inches  high. 


75.  FACE  SCREEN.  Painted  Peking  enamel;  decorated  with  a 
butterfly  and  a flowering  shrub  on  which  a bird  is  perched,  in  bright 
colors  on  pink  ground.  Era  of  Chia-ch’ing,  1796-1820. 

Diameter,  6%  inches. 

45] 


ANCIENT  CHINESE  CLOISONNES 


76.  QUADRILATERAL  INCENSE  BURNER.  (Fang-hsiang-lu.)  On 
four  flat  dragon-shaped  supports;  with  upright  loop  handles  and  den- 
tilated  ridges;  cover  with 
open-work  finial.  Decora- 
tion of  “shou”  symbols 
and  ogre  eyes,  surrounded 
by  archaic  scrolls  in  enam- 
els of  various  colors  on 
a turquoise-blue  ground. 

Elaborately  carved  teak 
stand.  K’ang-hsi  period, 

1662-1722. 

Height,  15  inches. 


77.  TALL  SQUARE 
BEAKER.  (Fang  hua  ku.) 

With  flaring  neck;  but- 
tressed with  eight  vertical 
dentated  brass  ridges.  The 
decoration,  in  hieratic 
style,  consists  of  ogre  eyes, 
dragon  heads,  scrolls,  lotus 
flowers  and  palm-leaf 
bordering.  Period  of 
Cli’ing-tai,  1450-1456,  Ming 
dynasty. 

Height,  23  inches;  extreme  diameter,  14  inches. 


No.  78 


78.  QUADRILATERAL  INCENSE  BURNER.  (Hsiang-lu.)  With 
upright  loop  handles,  gilt  dragon  ornaments,  and  dentilated  gilt  metal 
vertical  ridges.  The  open-work  cover  has  four  gilt  panels  of  copper  and 
a cloisonne  finial.  The  decoration  shows  cloud  shapes  of  archaic  char- 
acter, ogre  eyes,  floral  motives,  and  butterflies;  executed  in  various 
enamels,  lapis-blue  prevailing,  on  a turquoise-blue  ground.  Ch’ien-lung 
period,  1736—1795.  Height,  16  inches. 

47] 


ANCIENT  CHINESE  CLOISONNES 

79.  FLAT  DISH.  (Kuo  p’an.)  Of  indented  oval  form.  Enamelled 
with  conventional  ornaments  in  white,  red,  dark  blue,  and  yellow,  on 
turquoise-blue  ground.  Ch’ien-lung  period,  1736-1795. 

Size,  8%  x 6*4  inches. 


80.  SMALL  VASE,  with  saucer-shaped  base.  (Chih  chien  hsiang.) 
For  holding  joss-sticks.  Enamelled  with  medallions,  scrolls,  and  floral 
designs,  in  bright  colors  on  turquoise  ground.  Ch’ien-lung  period,  1736- 
1795 

Diameter,  4%  inches. 

81.  QUADRILATERAL  INCENSE  BURNER.  (Fang-hsiang-lu.) 

With  vertical  dentilated  ribs,  monster-head  feet,  and  loop  handles. 
Simply  decorated  with  ornaments  copied  from  ancient  sacrificial  bronze 
vessels,  in  enamels  of  harmonious  colors,  on  a turquoise-blue  ground, 
which  is  covered  with  a wired  fret  pattern.  Cover  surmounted  by  a gilt 
lion.  Ch’ien-lung  period,  1736-1795.  Height,  UU  inches. 


82.  TALL  BEAKER.  (Hua-ku.)  Slender  cornet  form,  with  trumpet- 
like neck ; fashioned  in  two  sections  and  displaying  four  lateral  (arete) 
dentated  ridges  on  the  sides.  The  cloisonne  floral  and  scroll  motives, 
together  with  palm-leaf  and  fret  border  patterns,  are  picked  out  in  light 
enamel  colors  on  a turquoise-blue  ground.  Bears  engraved  seal  mark. 

Era  of  Ch’ien-lung,  1736-1795.  „ . , 01  . , 

Height,  21  inches. 


83.  PEAR-SHAPED  VASE.  (Hua  p’ing.)  With  spreading  base; 
bronze  lion-head  handles  with  loose  rings  on  the  shoulder.  The  vase  is 
divided  by  floriated  bands  into  five  horizontal  sections,  which  are  filled 
with  lotus  flowers  and  scrolls  in  enamels  of  low-toned  colors  on  a pale 
turquoise-blue  ground.  Carved  teak  stand.  Ming  dynasty,  1368-1643. 

Height,  16%  inches. 


84.  HANGING  FLOWER  BASKET  AND  STAND.  (Lan-k’ung- 
hsuan.)  From  the  centre  of  a hexagonal  pedestal  rises  a tall  pillar 

[48 


No.  81  No.  83 


No.  84 


[50 


ANCIENT  CHINESE  CEOISONNES 


enamelled  in  green  and  covered  with  clouds  in  gilt  bronze,  surmounted 
by  a sacred  pearl  in  gilt  bronze  and  entwined  by  two  five-clawed  bronze 
dragons  partly  gilt.  The 
flower  basket,  which 
bangs  from  a dragon’s 
claw,  is  decorated,  like 
the  pedestal,  with  land- 
scapes, river  views, 
flowers,  and  butterflies, 
in  enamels  of  various 
colors  on  a turquoise- 
blue  ground.  Carved 
teak  stand.  Ch’ien-lung 
period,  1736-1795. 

Height,  36%  inches. 

85.  LARGE  TRIPOD 
INCENSE  BURNER.  (Ta 
lisiang-lu.)  Of  depressed 
globular  shape,  with  two 
scrolling  handles,  and  supported  by  three  monster-heads  of  gilt  bronze. 
The  cover  has  “ju-i”  shaped  open-work  panels  of  gilt  bronze,  sur- 
mounted by  a gilt  bronze  elephant  carrying  a cloisonne  vase  on  its  back. 
Floral  decoration,  with  lotus  scrolls  of  conventional  design,  in  lapis- 
blue,  red,  and  other  enamels  on  a turquoise-blue  ground.  Border  of 
palmettes  and  ogre  heads.  Carved  teak  stand.  Ch’ien-lung  period, 
1736-1795. 

Height,  17  inches. 

86.  LARGE  TRIPOD  INCENSE  BURNER.  (Ta  hsiang-lu.)  Glob- 
ular-shaped body  with  bold  scroll  handles,  resting  on  legs  with  cloisonne 
decoration  surmounted  by  gilt  bronze  monster-heads.  The  cover  has 
three  perforated  gilt  bronze  panels  of  dragon-scroll  design,  and  is  sur- 
mounted by  a gilt  bronze  finial  of  open-work  leaf  pattern.  The  body  is 
covered  with  a conventional  lotus  design  amid  leafy  scrolls.  Around 
51] 


No.  85 


No.  86 


[52 


ANCIENT  CHINESE  CLOISONNES 


the  shoulder  is  a sceptre-head  border  and  on  the  handles  a “lei-wen” 
fret  and  archaic  scroll  pattern.  The  enamels  are  in  low-toned  colors  on 
a light  turquoise-blue  ground.  Carved  teak  stand,  ornamented  by 
dragons  inlaid  in  silver  wire.  Ch’ien-lung  period,  1736-1795. 

Height,  27%  inches. 

87.  TEMPLE  SHRINE.  (T’ai  she  t’an.)  Representing  a form  of  gar- 
den pavilion.  Gilt  bronze,  with  cloisonne  and  champleve  enamel.  At  the 
corners  of  the  slightly  spreading  quadrangular  base  rise  four  columns 
entwined  by  dragons,  supporting  an  elaborately  decorated  domed  roof, 
from  the  corners  of  which  extend  scrolls  supporting  bells.  The  decora- 
tion consists  of  dragons,  cloud  forms,  sacred  flowers  and  scrolls,  in  gilt 
bronze,  and  champleve  and  cloisonne  enamels,  on  a ground  of  low-toned 
turquoise-blue.  The  shrine  holds  a seated  figure  in  gilt  bronze  of  a 
Thibetan  Rodhisattva,  which  is  encrusted  with  semi-precious  stones 
and  has  a halo  of  flame  design.  Ch’ien-lung  period,  1736-1795. 

Height,  25%  inches. 

88.  LARGE  INCENSE  BURNER.  (Ta  hsiang-lu.)  Of  hexagonal  jar- 
shape,  with  gilt  bronze  dragon  handles  and  raised  upon  monster-head 
feet  of  gilt  bronze,  enriched  with  cloisonne  enamelling.  The  body  is 
enamelled  with  conventional  arabesque  and  floral  motives  in  varied 
colors,  framed  by  an  archaic  fret  pattern  in  lapis-blue  on  a turquoise- 
blue  ground.  The  cover  has  open-work  gilt  bronze  panels  and  finial. 
Elaborately  carved  teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  20%  inches. 

89.  LARGE  INCENSE  RURNER.  (Ta  hsiang-lu.)  Of  rounded  quad- 

rilateral form,  on  four  tall  feet  of  gilt  bronze,  in  designs  of  monster- 
heads,  and  with  two  gilt  metal  handles  formed  by  the  winged  dragon 
Ying-Lung.  The  cloisonne  decoration  of  this  imposing  vessel  consists 
chiefly  of  conventional  floral  motives,  emblems,  and  monster-heads. 
The  cloisonne  cover  is  surmounted  by  a tall  perforated  gilt  copper  top 
of  floriated  open-work  design.  Elaborately  carved  teak  stand.  Ch’ien- 
lung  period,  1736-1795.  Height,  28%  inches. 

53] 


No.  87 


L 54 


No.  89 


55  3 


AVERY  COLLECTION  OF 


90.  LARGE  EWER.  (Chiu-hu.)  In  form  of  an  ancient  Persian 
golabpash  and  used  as  a rose-water  sprinkler;  with  slender  handle  and 

spout  supported  by  a dragon’s 
head,  of  gilt  bronze.  The  body 
displays  conventional  lotus 
blossoms  and  leafy  scrolls,  in 
typical  enamel  colors  on  a 
deep  turquoise-blue  ground. 
The  two  sides  have  also  circu- 
lar panels,  with  separate  Rud- 
dhistic  floral  and  fruit  motives 
(emblems  of  abundance),  no- 
tably the  pomegranate  and  the 
citron,  known  as  “Ruddha’s 
hand”  fruit.  Ming  dynasty, 
1368-1643. 

Height,  13%  inches. 

91.  CARINETYASE.  (Hua- 
p’ing.)  Pear-shaped,  with  dec- 
oration of  red  and  white  lotus 
blossoms  together  with  deli- 
cately colored  arabesque  scrolls 
and  leafage,  on  turquoise-blue 
ground.  Under  the  foot  is  a 
gilt  bronze  tablet  with  incised 
mark.  Teak  stand.  Era  of  Ch’ien-lung,  1736-1795. 


Height,  5%  inches. 


92.  SMALL  VASE.  (Hsiao-p’ing.)  For  incense  utensils.  Raluster 
shape;  with  turquoise-blue  ground;  decorated  with  borders  in  palm-leaf 
and  arabesque  forms,  together  with  the  “pa-kua,”  or  eight  mystical  tri- 
grams of  divination.  Era  of  Yung-cheng,  1723-1735. 

Height,  5%  inches. 

[56 


ANCIENT  CHINESE  CLOISONNES 


93.  SMALL  SQUARE  BEAKER.  (Fang-hu-ku.)  The  blue  body  is 
decorated  with  archaic  mask  forms  known  as  “t’ao-t’ieh,”  or  gluttonous 
ogres,  in  varied  colors.  Pointed  leafage,  in  green  enamel,  encircles  the 
neck  and  base.  Teak  stand.  K’ang-hsi  period,  1662-1722. 

Height,  3 inches. 

94.  SACRIFICIAL  TRIPOD.  (Ting~lu.)  With  small  rudimentary 
feet  and  rim  handles.  Decoration  of  conventional  lotus  flowers  and 
leafy  scrolls  in  bright-colored  enamels,  including  deep  lapis-blue,  on 
turquoise-colored  ground.  The  foot  has  an  incised  mark  on  gilt  bronze 
tablet.  Carved  teak-wood  cover,  surmounted  by  a small  lapis-lazuli 
ball.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  7%  inches. 

95.  CABINET  VASE.  (Hua-p’ing.)  Baluster-shaped  body  with  tur- 
quoise ground,  decorated  with  borders  and  archaic  dragons  in  lapis-blue 
enamel,  together  with  star-shaped  crests  and  scrolls  in  polychrome 
colors.  The  neck  is  ornamented  with  angular  archaic  frets  in  lapis-blue 
enamel,  with  scolloped  green  borders.  Teak  stand.  Yung-cheng  period, 
1723-1735. 

Height,  7 inches. 

96.  CABINET  BOTTLE.  (Hua-p’ing.)  Pear-shaped,  with  lotus  flow- 
ers and  leafy  scrolls  in  light  enamel  colors,  on  a ground  of  turquoise- 
blue.  Under  the  foot  is  an  incised  inscription.  Ch’ien-lung  period, 
1736-1795.  Teak  stand. 

Height,  6%  inches. 

97.  WATER  BOTTLE.  (Chui-p’ing.)  Pyriform,  with  melon-shaped 
upper  section  and  spreading  base.  The  body  is  decorated  with  conven- 
tional lotus  flowers  and  leafy  scrolls,  in  varied  enamel  colors  upon  a 
light  green  ground.  Delicate  wire  cloison  work.  Yung-cheng  period, 
1723-1735. 

573 


Height,  11  % inches. 


AVERY  COLLECTION  OF 


98.  SQUARE  FLOWER  VASE.  (Fang  p’ing.)  Gilt  copper  and  cloi- 
sonne enamel.  On  each  of  the  four  sides  is  a gilt  repousse  panel  with 

landscape  and  figure  work,  bordered 
with  lotus  flowers,  and  arabesque  forms, 
in  polychrome  colors  on  blue  ground. 
The  neck  and  base  are  in  gilt  copper 
open-work,  with  cloisonne  enamel  bor- 
dering. Ch’ien-lung  period,  1736-1795. 

Height,  8%  inches. 


99.  BUDDHISTIC  SHRINE  VASE. 
(Dagaba,  or  fa.)  The  body,  in  form  of  a 
lotus  thalamus,  with  light  pink  and  white 
enamelling,  rests  on  a cloisonne  stand, 
and  supports  a small  enamelled  jar  with 
symbolic  fillets,  above  which  is  the  Bud- 
dhist “kai”  or  canopy,  which  is  sur- 
mounted b}7  the  sacred  “vadjra”  emblem 
in  gilt  bronze.  Ch’ien-lung  period,  1736- 
1795. 

Height,  12%  inches. 


100.  CABINET  BOTTLE.  (Hua-p’ing.) 
Pear-shaped  body  with  slender  neck; 
showing  lotus  flowers  and  leafy  scrolls 
No.  99  in  light  colors  on  turquoise-blue  ground. 

On  the  shoulder  are  borders  in  lance- 
olated  and  leaf  forms  in  various  colors;  the  base  is  finished  with  a 
foliated  border  in  similar  enamel  colors.  Teak  stand.  Ascribed  to  the 
era  of  Ch’ien-lung,  1736-1795. 


Height,  5 inches. 


101.  BOTTLE.  (Shuang-p'ing.)  Gilt  bronze  with  cloisonne  and 
champleve  enamel  ornament.  Of  intersecting  double  lozenge  form, 

C58 


ANCIENT  CHINESE  CLOISONNES 


102.  SMALL  JAR  WITH  COYER. 
(Ch’a-kuan.)  Embellished  with  blos- 
som designs  in  pink,  white,  and  blue 
enamels,  on  turquoise  ground.  Teak 
stand.  Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 

103.  CABINET  VASE.  (Hua-p’ing.) 
The  bulbous  body  is  embellished  with 
conventional  lotuses  showing  India 
red  and  white  enamel  blossoms  on 
turquoise-blue  ground.  The  tubular 
neck  shows  a similar  blue  ground  with 
a coiled  dragon  amid  floral  scrolls  in 
light  colors,  and  a narrow  border  in 
red,  j^ellow,  and  white.  Teak  stand. 
Ming  dynasty,  1368-1643. 

Height,  6%  inches. 


with  quadrangular  neck  and  base.  The  intersecting  panels  show  ar- 
chaic motives  in  red  on  greyish-white  ground,  together  with  blue  and 
white  dotted  bordering.  The  angular  sides  are  ornamented  with  small 
lotus  flowers  and  arabesque  forms,  in  light  enamel  colors  on  turquoise- 
blue  ground.  The  base  and  neck  are  both  finished  in  flowered  diaper 
designs.  Teak  stand.  Ch’ien-lung 
period,  1736-1795. 

Height,  7 inches. 


No.  103 


104.  VASE.  (P’ing.)  With  angular  gilt  bronze  handles  at  the  neck. 

The  body  is  decorated  with  lotus  blossoms  and  arabesque  scrolls,  in 

light  polychrome  enamel  colors  on  turquoise-blue  ground.  The  neck  is 

encircled  by  a border  of  green  palm  leaves,  and  fhe  shoulder  has  a 

lanceolated  band;  other  narrow  borders,  in  varied  enamel  colors,  finish 

the  base.  Ch’ien-lung  period,  1736-1795.  TT  . ,.Q/  . , 

& ^ Height,  694  inches. 


59  ] 


AVERY  COLLECTION  OF 


105.  SCROLL  VASE.  (Tung-p’ing.)  Cylin- 

drical form,  raised  on  six  bronze  feet.  The  body 
is  decorated  with  symbolic  Buddhistic  and  Man- 
darin flowers,  including  the  sacred  lotus,  chry- 
santhemums, peonies,  small  magnolias  and 
plum  blossoms,  freely  rendered  in  varied  colors, 
with  green  leafage,  upon  a ground  of  deep  tur- 
quoise-blue. The  decoration  is  finished  at  the 
base  and  rim  by  palm-leaf  and  lotus  borderings, 
in  typical  enamel  colors  and  design.  K’ang-hsi 
period,  1662-1722.  Height,  9 inches. 

106.  SMALL  TABLE-SCREEN.  (Chia-p’ing.) 
Teak-wood  panel  holding  a nephrite  (jade)  tab- 
let, with  open-work  carving  of  trees  and  two 
deer;  surrounded  by  a cloisonne  enamel  border- 
ing in  floral  arabesque  design  on  blue  ground. 
The  reverse  panel,  in  cloisonne  enamel,  shows 

a typical  Chinese  landscape  with  arched  bridge,  pavilion,  and  trees. 
K’ang-hsi  period,  1662-1722. 

107.  LARGE  BOWL.  (Wan.) 

The  exterior  has  a deep  turquoise- 
blue  ground  with  conventional 
lotus  blossoms  in  lapis-blue,  red, 
and  white  enamel.  On  the  interior, 
with  similar  ground,  are  four  wild 
horses,  with  red  flame-like  appen- 
dages, and  a dark  green  wave  mo- 
tive. K’ang-hsi  period,  1662-1722. 

Height,  3%  inches. 

108.  SACRIFICIAL  TRIPOD. 

(Ting-lu.)  Of  gilt  bronze  with  cloi- 
sonne enamel.  Bowl-shaped,  with 


Height,  7 inches. 


No.  107 


C 60 


ANCIENT  CHINESE  CLOISONNES 


three  feet  in  the  form  of  elephant  heads,  and  two  lion  handles.  The 
body  is  decorated  with  conventional  lotus  blossoms  in  India  red,  on  a 
ground  of  deep  turquoise-blue.  Has  an  incised  mark.  Carved  teak- 
wood  cover,  with  agate  knob.  Elaborately  carved  open-work  teak 
stand.  K’ang-hsi  period,  1662-1722. 


No.  ioe 


61] 


Height,  5%  inches. 


AVERY  COLLECTION  OF 


109.  TRIPOD  CENSER.  (Hsiang-lu.)  Of  globular  shape,  with 
bronze  dragon  handles  and  three  feet  in  form  of  elephant  heads.  The 
body  has  enamelled  archaic  dragon  medallions,  containing  the  char- 
acter “fu”  (happiness),  together  with  red  and  white  lotus  blossoms  and 
scrolling  leafage  on  turquoise-blue  ground.  Gilt  bronze  cover  in  chased 
open-work,  surmounted  by  a small  lion.  Yung-cheng  period,  1723-1735. 

Height,  4%  inches. 

110.  SMALL  PERFUME  ROX.  (Yen-se-ho.)  Gilt  bronze,  with 
champleve  enamel  decorations.  The  cover  shows  a floral  panel  with 
blue  fillets,  and  the  side  panels  have  archaic  lapis-blue  fret  motives  on 
turquoise  ground.  Yung-cheng  period,  1723-1735. 

Height,  IV2  inches. 


No.  111 


111.  LARGE  FRUIT  DISH.  (Ta-kuo-p’an.)  The  exterior  and  in- 
terior are  covered  with  white  cloisonne  enamel  relieved  by  an  elaborate 
cloison  wire  design,  with  delicate  floral  arabesques,  and  including  the 
eight  Buddhistic  emblems  (Pa-chi-hsiang)  of  happy  augury.  Ch’ien- 
lung  period,  1736-1795. 

Height,  4%  inches;  diameter,  13  inches. 


112.  TRIPOD  CENSER.  (Hsiang-lu.)  Low  bowl-shaped  form;  the 
exterior  displaying  rosettes  and  leafy  scrolls  in  red,  blue,  and  white  on 

£62 


ANCIENT  CHINESE  CLOISONNES 


turquoise-blue  ground.  Probably  era  of  Chung-chen,  1628-1643,  Ming 
dynasty.  Height,  2 inches. 

113.  TRIPOD  CENSER.  (Ting-lu.)  Of  globular  shape,  with  gilt 
bronze  dragon-shaped  handles.  The  body  has  a light  turquoise-blue 
enamelled  ground,  relieved  by  archaic  dragons  in  blue,  together  with 
the  “effulgent  jewel  of  omnipotence”  and  cloud  forms.  Finished  at  the 
shoulder  with  red  and  yellow  dentated  bordering.  The  foot  has  an  in- 
scription. Carved  open- 
work teak-wood  cover 
with  lion  top.  Carved 
teak  stand.  Ch’ien-lung 
period,  1736-1795. 

Height,  5 inches. 

114.  LARGE  ROWL. 

(Wan.)  The  exterior  is 
decorated  with  pinkish 
lotus  blossoms  and  green 
leafage  on  a white  ground, 
and  the  interior  has  a similar  treatment,  with  a lotus-pod  panel.  Yung- 
cheng  period,  1723-1735.  Height)  3%  inches. 

115.  JARDINIERE.  (Hua-p’en.)  Gilt  bronze,  with  champleve 
enamel.  Of  low  quadrilobed  shape,  on  which  are  pink  lotus  blossoms, 
with  blue  and  green  arabesque  leafage.  The  upper  rim  has  an  engraved 
and  gilt  border  in  lotus  design.  Yung-cheng  period,  1723-1735. 

Height,  3 inches. 

116.  JARDINIERE.  (Hua-p’en.)  Of  low  quadrilobed  form,  raised 
on  four  feet.  The  body  is  decorated  with  scrolling  leafage  in  light  colors, 
including  white  blossoms,  on  turquoise-blue  ground.  The  upper  rim  is 
finished  with  a delicate  floral  border  of  similar  design.  Ch’ien-lung  pe- 
riod, 1736-1795. 


No.  114 


63] 


Height,  3%  inches. 


AVERY  COLLECTION  OF 


117.  TRIPOD  CENSER.  (Hsiang-lu.)  Oviform  body  with  angular 
gilt  bronze  handles,  and  chimaera-mask  feet.  The  body  has  a delicately 
wired  cloisonne  design  with  scrolling  leafage  and  small  red  and  pink 
blossoms,  on  turquoise-blue  ground.  The  cover  combines  cloisonne 
enamel  panels  with  gilt  bronze  open-work  and  finial.  The  foot  has  an 
engraved  seal  mark.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  6 inches. 

118.  TRIPOD  CENSER.  (Hsiang-lu.)  Bulbous  body  with  upturned 
handles  and  three  rudimentary  feet,  which  are  in  the  form  of  blossoms 
enamelled  in  red.  The  surface  is  decorated  with  white  phoenix  (feng- 
huang)  birds,  amid  red  and  white  blossoms,  on  turquoise-blue  ground. 
The  cover  shows  green  leafage  and  a red  border  on  white  ground,  with 
wired  diaper  pattern.  Carved  ivory  stand.  Ch’ien-lung  period,  1736- 
1795. 

Height,  3 inches. 

119.  SMALL  BOTTLE.  (Mei-p’ing.)  Gallipot  shape,  with  flowers 
and  butterflies  in  light  enamel  colors  on  deep  blue  ground.  Teak  stand. 
Chia-ch’ing  period,  1796-1820. 

Height,  214  inches. 

120.  TRIPOD  URN.  (Hsiang-lu.)  The  body,  with  two  dragon  han- 
dles and  three  archaic  feet  in  light  bronze,  has  a floral  decoration  in 
light  enamel  colors  on  turquoise-blue  ground  and  a dark  green  serrated 
border.  Modern  enamel  cover.  Teak  stand.  Ch’ien-lung  period,  1736- 
1795. 

Height,  4%  inches. 


121.  TRIPOD  CENSER.  (Hsiang-lu.)  Bulbous  body  with  cloisonne 
feet  and  upturned  handles.  Decorated  with  conventional  arabesques 
and  lotus  blossoms,  in  delicate  enamel  colors  on  turquoise-blue  ground. 
Cover  in  gilt  bronze  chased  open-work,  in  design  of  dragons  and  cloud 
forms.  The  foot  has  a bronze  tablet  with  mark.  Teak  stand.  Ch’ien- 
lung  period,  1736-1795. 

Height,  6 inches. 

L 64 


ANCIENT  CHINESE  CLOISONNES 


122.  TRIPOD  CENSER.  (Hsiang-lu.)  Bulbous  shape,  with  upright 
handles.  The  decoration,  on  turquoise-blue  ground,  includes  a series 
of  small  lotus-flower  medallions  in  deep  blue,  and  the  remaining  sur- 
face is  filled  with  arabesque  scrolls  and  borderings  in  bright  enamel 
colors.  On  the  under  side  is  a gilt  bronze  tablet  with  incised  marks. 
Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 

123.  STAND.  (Chien.)  Of  gilt  bronze  with  champleve  enamelling. 
Oblong  shape,  with  arabesques  and  swastika  fret  bordering  in  brilliant 
green  and  blue  enamels.  The  gilt  top  is  finished  with  a small  red  enam- 
elled and  gilt  rail.  Ch’ien-lung  period,  1736-1795. 

Height,  3 Vs  inches. 

124.  CABINET  JAR  WITH  COVER.  (Hsiao  kuan.)  Gallipot  shape, 
with  grotesque  mask  handles  and  pendent  rings,  in  gilt  bronze.  The 
decoration,  on  turquoise-blue  ground,  shows  symbolic  fruits  in  light 
enamel  colors,  including  peaches  (tao)  and  “hand  of  Buddha”  citrons, 
both  of  which  allegorically  signify  longevity  for  the  possessor.  A red 
and  green  scolloped  bordering  finishes  the  base  and  neck.  Teak  stand. 
Ch’ien-lung  period,  1736-1795. 

Height,  6%  inches. 

125.  SMALL  BRAZIER.  (Tung-chiang.)  Gilt  bronze,  with  cloisonne 
enamel.  The  bowl  and  cover  show  an  arabesque  decoration,  with  bats, 
in  red  and  other  bright  enamel  colors,  on  turquoise-blue  ground.  The 
central  section,  of  low  cylindrical  form,  is  of  bronze  open-work  in  scroll 
designs  alternating  with  “fu”  characters,  signifying  happiness.  Ch’ien- 
lung  period,  1736-1795. 

Height,  5%  inches. 

126.  LARGE  BUDDHIST  SCEPTRE.  (Ju-iJ)  Painted  Peking 
enamel,  with  silver  filigree  setting.  The  decoration,  in  brilliant  blue 

*A  curved  wand  terminating  in  a “ling-chi”  (emblematical  fungus)  or  trefoil 
leaf  at  the  upper  end,  and  with  a smaller  incurved  leaf  finishing  the  lower  end. 
Usually  fashioned  in  jade  or  other  valuable  material.  In  old  Buddhist  paintings 
the  ju-i  is  usually  placed  into  the  hands  of  priests  as  emblems  of  their  rank, 

65  U 


AVERY  COLLECTION  OF 


and  green  enamel  painting,  includes 
raised  figures  in  various  groups,  on 
silver-meshed  filigree.  These  repre- 
sent the  “eight  immortals,”  or  company 
of  genii,  known  as  the  “Pa  Hsien.” 
The  taoist  triad,  Shou,  Fu,  and  Lu,  or 
star  gods  of  “longevity,”  “happiness,” 
and  “rank,”  are  pictured  upon  the 
upper  trefoil  head  (derived  from  the 
sacred  mushroom).  Below  these  (on 
the  wand  proper)  appear  four  small 
tablets  displaying  separate  enamelled 
characters  forming  the  words  “Yi  P'in 
Tang  Yueh-hsuan”  (the  meaning  is 
enigmatical) . The  wand  was  probably 
made  as  an  “ex  voto”  offering  for  a 
leading  city  dignitary  to  be  used  at 
state  ceremonies.  Ch’ien-lung  period, 
1736-1795. 

Length,  22  inches. 

127.  INCENSE  BOX.  (Hsiang-ho.) 
Bound  shape,  with  turquoise-blue 
enamel  ground;  showing  arabesque 
scrolls  and  Buddhistic  emblems  known 
as  the  “Pa-chi-hsiang,”  in  polychro- 
matic coloring.  The  cover  includes  a 
gadrooued  centre  in  rosette  form. 
Teak  stand.  Ch’ien-lung  period,  1736- 
1795. 

Height,  3%  inches. 

128.  COYEBED  BOWL.  (Wan- 
erh.)  Painted  Peking  enamel  on 
copper.  The  exterior  is  decorated 
with  floral  motives  in  various  colors 

[66 


No.  126 


ANCIENT  CHINESE  CLOISONNES 


on  a ground  of  brilliant  blue.  The  interior  shows  a circular  “shou” 
mark  of  longevity,  together  with  five  bats,  or  “wu-fu,”  typifying  super- 
lative happiness  and  blessings.  Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 


129.  LARGE  FRUIT  BOWL.  (Kuo-p’an.)  Cloisonne  and  champleve 
enamel.  In  form  of  a large  lotus  leaf,  in  varied  green  enamels  of  natural 


No.  129 


colors.  The  long  curling  stems,  forming  the  base,  also  support  a lotus 
flower  with  white  petals  and  pinkish  tips,  a seed  pod,  and  a curling  leaf. 
Ch’ien-lung  period,  1736-1795.  Height,  8 inches;  diameter,  15  inches. 

67  3 


AVERY  COLLECTION  OF 


130.  INCENSE  BOX.  (Hsiang-ho.)  Decorated  with  conventional 
lotus  flowers  in  bright  polychrome  colors  on  turquoise-blue  ground. 
Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  2%  inches. 

131.  TRIPOD  CENSER.  (Hsiang-lu.)  The  body,  with  rudimentary 
pointed  feet  and  rim  handles,  shows  conventional  lotus  flowers  with 
arabesque  scrolls,  in  bright  colors  and  fine  wire-work,  on  blue  ground. 
Open-work  silver  cover  with  two  attached  jadeite  rings.  Has  a gilt 
bronze  tablet  on  the  under  side  with  an  engraved  mark.  Teak  stand. 
Ch’ien-lung  period,  1736-1795. 

Height,  2%  inches. 

132.  HANGING  JAR.  (Kuo-ch’i-yu.)  The  enamel  decoration  in- 
cludes conventional  lotus  flowers  and  leafy  scrolls  in  polychrome  colors 
on  chocolate-brown  ground,  together  with  a bordering  of  “t’ao-t’ieh  yen” 
(archaic  ogre  masks)  outlined  on  yellow  ground,  followed  by  a row  of 
pointed  leaves  in  like  colors.  The  piece  is  suspended  within  a carved 
teak  stand.  There  is  an  engraved  mark  under  the  foot.  Era  of  Tao- 
Kuang,  1821-1850. 

Height,  6%  inches. 

133.  MINIATURE  VASE  WITH  SAUCER-SHAPED  BASE.  (Chih 
chien  hsiang.)  For  holding  joss-sticks.  The  vase  and  the  exterior 
border  of  the  dish  show  red  and  white  floral  blossoms,  with  deep  blue 
scrolls,  on  turquoise-blue  ground.  The  interior  of  the  tray  is  decorated 
with  four  yellow  medallions  displaying  deep  lapis-blue  dragons,  on  a 
ground  of  turquoise-blue.  Era  of  K’ang-hsi,  1662-1722. 

Height,  1%  inches. 

134.  TRIPOD  CENSER.  (Hsiang-lu.)  Globular  body  with  gilt 
bronze  open-work  cover  and  upturned  handles;  decoration  of  conven- 
tional dragons  in  deep  lapis-blue  on  turquoise-blue  ground.  Teak  stand. 
Era  of  Ch’ien-lung,  1736-1795. 

Height,  5 inches. 

[68 


ANCIENT  CHINESE  CLOISONNES 


135.  INCENSE  BOWL.  (Hsiang-wan.)  With  wired  cloison  fret  pat- 
tern on  green  ground.  Gilt  bronze  base  and  rim.  Teak-wood  cover  in 
form  of  a lotus  leaf.  Era  of  Ch’ien-lung,  1736-1795. 

Height,  3%  inches. 

136.  INCENSE  BURNER.  (Hsiang-lu.)  Of  cylindrical  shape,  raised 
on  three  feet,  with  gilt  bronze  ridges  at  the  base  and  rim  and  around  the 
centre.  Enamelled  with  conventional  lotus  flowers  and  scrolling  leafage 
in  varied  colors  on  turquoise-blue  ground.  On  the  under  side  is  an  in- 
cised mark.  Ch’ien-lung  period,  1736-1795. 

Height,  314  inches. 

137.  TRIPOD  INCENSE  BURNER.  (Hsiang-lu.)  Of  semi-globular 
shape,  raised  on  three  gilt  bronze  legs  with  grotesque  masks.  The  bowl 
displays  a festooned  design  in  bright  enamel  colors  on  blue  ground. 
Persian  etched  brass  cover.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 

138.  COVERED  BOWL.  (Kai-wan.)  Globular  shape,  with  blue 
ground.  Enamelled  with  five  symbolic  bats  (“wu-fu”)  and  with  flowers 
and  leafage,  in  bright  polychromatic  coloring.  Cover  with  bat  and 
flower  motive  of  similar  design.  Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 

139.  INCENSE  JAR.  (Hsiao-yi.)  Octagonal  shape.  Cloisonne  and 
champleve  enamel;  displaying  green  enamel  panelling  with  scroll  de- 
signs in  polychrome  enamel  colors;  finished  with  key-fret  borders  in 
dark  lapis-blue  on  turquoise-colored  ground.  Teak-wood  cover,  carved 
in  open-work  design.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  3%  inches. 

140.  TRIPOD  CENSER.  (Hsiang-lu.)  Globular  shape  with  gilt 
bronze  feet,  and  cover  with  open-work  scrolls  and  “shou”  emblems. 
Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  5 id  inches. 

693 


ANCIENT  CHINESE  CLOISONNES 


141.  SMALL  VASE.  (Hsiao-p’ing.)  For  incense  utensils.  Oviform 
body  with  flaring  neck  and  small  grotesque  “fu”  or  lion  handles.  The 
body  has  a bright  turquoise-blue  ground  on  which  are  displayed  yellow, 


No.  141 

Teak  stand.  Ch’ien-lung  period. 


red,  and  white  blossoms,  with  scroll- 
ing green  leafage.  The  shoulder  is 
encircled  by  an  India-red  scolloped 
border.  Under  the  base  is  an  en- 
graved mark.  Teak  stand.  K’ang- 
hsi  period,  1662-1722. 

Height,  4%  inches. 

142.  INCENSE  BOX.  (Hsiang- 
ho.)  Of  round  depressed  form.  The 
enamelled  decoration  shows  a lapis- 
blue  medallion,  together  with  ara- 
besque motives  in  bright  colors  on 
blue  ground,  and  is  finished  by  an 
arabesque  and  blossom  border.  On 
the  under  side  are  incised  marks. 

1736-1795.  Height,  1%  inches. 


143.  MANDARIN  HAT  STAND.  (Mao-chia.)  Painted  Peking 
enamel  on  copper.  Four  upright  “ju-i”-shaped  sceptres  are  joined  in 
the  middle  and  attached  to  a permanent  base.  The  piece  is  finished  at 
the  top  with  a small  round  box  for  perfume.  The  whole  is  coated  with 
brilliant  blue  enamelling  and  delicately  decorated  with  floral  arabesques 
and  “shou”  characters,  or  dedication  marks,  in  red,  which  appear  on  the 
cover  of  the  box,  and  also  on  the  four  sceptre  heads.  Ch’ien-lung  pe- 
riod, 1736-1795.  Height,  14%  inches. 


144.  LARGE  SCREEN  PANEL.  (P’ing  feng.)  Of  oblong  shape, 
showing  a typical  Chinese  landscape  on  a ground  of  mazarin  blue,  with 

C70 


ANCIENT  CHINESE  CLOISONNES 


figures,  pavilion,  bridge,  hills,  and  conventional  cloud  forms,  executed  in 
picturesque  style  and  with  a delicate  brass  wire  outlining.  Ch’ien-lung 
period,  1736-1795.  Height,  18  inches;  width,  25  inches. 


No.  143 


145.  INCENSE  BOX.  (Hsiang-ho.)  Embellished  with  arabesque 
motives  in  bright  colors  on  turquoise-blue  ground.  On  the  under  side  is 
an  engraved  mark.  Teak  stand.  Ch’ien-lung  period,  1736-1795. 

Height,  2 inches. 

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